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MAGAZINE 



Ju 



ne 



15 Cents 



In this issue 



"Mollie of the Movies " 



Begins Her Letters 



Beautiful California Homes 
of Movie Favorites 



Bahg Pictures of the Stars 
Getting It Right 

The Struggle for Accuracy in Photoplays 

Directors 

The Creators at Work 
S*. 

What Your Favorite Will Do 
This Summer 



Fiction News 
Interviews 







^* Mary Fuller 




\ 



Which Will Succeed? 

Each has only a few hurried moments for reading. 

One spends all his precious moments with the daily paper. 

The other, little by little, is gaining that knowledge of a few 
truly great books which will distinguish him always as a 
really well read man. 

What are the few great books — Biographies, Histories, Novels, Dramas, Poems, 
Books of Science and Travel, Philosophy and Religion that picture the progress 
of civilization ? " 

Dr. Charles W. Eliot, from his lifetime of reading, study and teaching — 40 years 
of it as president of Harvard University — has answered that question in 

The Harvard Classics 



\ 



The Five-Foot Shelf of Books 

\ Published only by P. F. Collier and Son 

P. P. 6-15 V 



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418 Masterpieces at the cost of 40." 

If you expect ever to buy another book, you should know what few 
st.,N.Y.'city v books in the world are really worth buying. 

Muilnie.withoutob- x 

vour'f"C(.° ! Glli ! dc l Book-\ You should have the expert advice on your reading that is here 

let to Books" contnininK \ r*(t*>mA Iran 

tin- story of the Five Foot \ otierea tree. 

Shelf. v 

^v Accept with our compliments the interesting story of the Five-Foot 

\ Shelf of Books; it tells how Dr. Eliot, from his years of experience, 
\ chose the best possible library for the modern busy man. 

\ The booklet is free; no obligation, merely clip the coupon. 
\ 



A Free Booklet— For You 



If you have children and are interested ] 

in what they read, put a %* in this square. I I 



Photoplay Magazine — Advertising Section 




Charming Lottie Pickford 

— delightful younger sister of the 
famous Mary. Pretty, dainty, sweet, 
capricious; an international favorite, at her very 
best in The Diamond From The Sky, the $800,000 "Flying 
A" continued photoplay. See this adorable ingenue. 
Eyes that sparkle, dimpled smile, tossing curls — a delight- 
ful, piquant personality. See her skip through skeins of love, 
hate, mystery, intrigue, in her greatest triumph — 




• 







A Picturized Romantic Novel 

The continued photoplay that was 
awarded The Chicago Tribune's $10,000 

prize out of 19,846 manuscripts submitted. 
Replete with adventure and romance; situations that 
thrill — real situations, true to life. Real, red-blood emotion. 
See this great creation enacted by this all star cast — Lottie 
/Pickford, Irving Cummings, William Russell, Charlotte 
Burton, George Periolat, Eugenie Forde, Orral Humphreys, 
W. J. Tedmarsh. Every one a favorite. 

$10,000 For a Suggestion! 

Ten thousand dollars is offered to 

the man, woman or child suggesting the 

most acceptable sequel to The Diamond From 
The Sky. Yours may be the one. We don't want an 
elaborate story; just a suggestion. See every chapter. 
Send your suggestion in. 

To See The Diamond From The Sky at 
Your Theatre Send This Coupon to Us! 




Fill out this coupon to-day. We 
will try to have The Diamond From 

The Sky shown at your favorite theatre. 
Write us about this picturized novel. Have your 
friends write, too. Fill out this coupon and send it now. 

North American Film Corporation 

John R. Freuler, President 

Executive Offices: 222 South State Street 
Chicago, Illinois 




r 



j 



/ 



/ 



/ 



/ 



North American 

/Film Corporation 
John R. Freuler, President 
s / 222 South State Street, CHICAGO. ILL. 
/ Gentlemen : I am interested 

/in seeing The Diamond 
From The Sky at my favorite 
theatre. 



Name . 



City State. 



Name of Theatre . 



REG. U. S. PAT. OKF. 



PHOTOPLAY MAGAZINE 

"The National Movie Publication" 

Copyright, 1915, by the Photoplay Publishing Company, Chicago 



VOL. VIII 



No. 1 



CONTENTS FOR JUNE, 1915 

Cover Design— MARY FULLER 

Pictures of Popular Photoplayers 

Dorothy Gish, William Elliott, Grace Washburn, Franklin Ritchie, Mae 

. Marsh, Julia Swayne Gordon, Rita Jolivet, Fred Mace, Sallie 

Crute, J. Warren Kerrigan, Louise Vale, Ina Claire, 

Mack Swain, David Griffith, Bessie Barriscale. 



Civil War scene in 



Frontispiece 
Pickford the Second 

A queen who is the sister of a queen. 

The Sign of the Rose 

What Your Favorite Will Do this Summer 

Edward Earle; An Indifferent Idol 

Scholar, gentleman and artist. 

Mothers of the Movies 

A Lady General of the Picture Army 

The Justice of Omar Khan (Short Story) 

A plain tale of the East. 

Impressions 

Brief brilliancies regarding players. 

Scotty Weed (Short Story) 

The turning point at which a dark past died. 

Lo, the Poor Property Man ! 

An appreciation of an unsung martyr. 

How I Keep My Strength 

An all-America matinee idol tells his recipe for a "sane mind in a sane body." 

Picture Theatres the Public Never See 



The Birth of a Nation" 




K. Owen 


27 




31 




34 




36 




38 


L. H. Johnson 


42 


Frank Williams 


43 


Julian Johnson 


49 


George Wolfe 


51 


John Ten Eyck 


58 


Francis X. Bushman 


59 



Contents continued on next page 



lllllllllllllll[l!lllllllll]||lllll!llll!ll!l!!lll!llll!!!l!l!l]!llllllllllillllillllllllll!lilll«li!ill!lll 



63 



Yearly Subscription: $1.50 in United States, its dependencies, Mexico and Cuba; $2.00 to Canada; $2.50 
to foreign countries. Remittances should be made by check, or postal or express money order. 

Caution— Do not subscribe through persons unknown to you. We employ no subscription solicitors. 
Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111. 
Edwin M. Colvin, President James R. Quirk, Vice President Robert M. Eastman, Secretary-Treas. 

Entered at the PostotTice at Chicago, 111., as Second-class mail matter 



CONTENTS FOR JUNE, 1915— Continued 

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIliM 

The Reward (Short Story) Edith Huntington Mason 

How a girl found love and how a man found his soul in Times Square. 

Domestic Drama on the Screen 
The-Sort-of-Girl-Who-Came-From-Heaven (Short Story) 

In which Fate gently satirizes a novelist 

Directors 

The men who are making the movies. 

When Shining Stars Were Baby Twinklers 

They were the cunningest babies you ever saw ! 

Frauds (Short Story) 

In which the Government engineers a romance. 

The.Girl on the Cover (Interview) 

About Mary Fuller. 

Photoplays of Tomorrow 

A prophecy concerning the art of the photoplay. 

Mollie of the Movies 

Being the first installment of Mollie's letters to Clara Bell. 

Seen and Heard at the Movies 

At the Stroke of Twelve (Short Story) 

How a life was saved by the ticks of a clock. 

News of the Day in Pictures 
Courtot— Well, Who is She ? 

Brief history of one of the youngest stars. 

Movie Royalty in California 

Palaces bestowed on screen actors by picture-fandom. 

Hints on Photoplay Writing Capt. Leslie T. Peacocke 

Movie Manners Reginald Pelham Bolton 

Classifying some familiar Fauna and a Flora or two. 



65 



71 



Mrs. Ray Long 


73 | 


Harry C. Carr 


80 


_— ^~ 


86 1 


George Vaux Bacon 


90 j 


Colgate Baker 


99 j 


Jesse Lasky 


101 



Kenneth McGaffey 103 



Cora North 



107 
109 

116 
120 



Grace Kingsley 123 

129 
133 



Personality in Dress 

Something about "style." 

The Players 
Getting It Right 

How the directors work for correct detail. 

Beauty to Burn (Conclusion of Serial Story) 
Rocks and Roses 

Love letters (and otherwise) from our readers. 

Questions and Answers 



Ruth Roland 134 



Harry Carr 
George Orcutt 



136 
139 

143 
151 

153 



Photoplay Magazine — Advertising Section 



The play-actor theatres are shutting up for the summer; 
the actors are all going picturing ! And since pictures are a 
twelve-month institution, PHOTOPLAY MAGAZINE 
will only glow more brilliantly as the summer advances. 

July Photoplay Magazine 

is going to be the month's most absorbing 
reading for the man or woman at home or 
at the shore; on roof-garden or mountain- 
top — rocking the baby or rocking the boat. 

A FEW OF THE FORTY FEATURES 

BEGINNING 

Charlie Chaplin's Own Story 

What Everybody Wants to Know About Him. 

"Mollie of the Movies" "My Actor Director" 

-letters from California, as she A stor y Wlkt . en J* , his , leadin £ 

_ , . . , . woman — a singular close-up 

fights her way up a lot of uproan- of two of the b ; ggest personalities 

ously funny Alps toward fame. j n the world of active photography. 

Your Favorite in Her Bathing Suit 

A wonderful lot of looks at film femmes as they splash! 

Another Western Camera The Village that the Lens Built 

Giant A. B. Frost's ideal "rube town" 

A Harry C. Carr story; enough completely realized by a great film 

said. corporation. 

The Girl Who Keeps a Railroad 

Where could the little "regular" theatres have 
reared such a fascinating creature? A story pos- 
sible only in the miraculous World of Photoplay. 

Literature in the Scenario Cecil DeMille as Our 

— likewise, artists in their roles; Illustrator 

how pictures are raising their own The big Lasky director poses his 

standard. A Revolution of Intel- illustrious players for a new Pho- 

ligence. toplay Magazine fiction feature. 

NEVvS SPLENDID SUMMER FICTION INTER vIElnrS 

. -Ill!lllllllllllllllllll[[|[[|l!lllil!llli l!ll!lll!!!llll!UIII!!l!!lllllllllllllllllllll!ll!l!ll!llllll!llil Illllll Ill IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 



Photoplay Magazine — Classified Section 













Chicago, March IS, 1915 
Photoplay Magazine, Chicago, Illinois 

Gentlemen : We are pleased to tell you in answer 
to your inquiry o' the 13th inst., that the returns we 
get from our advertising in the Photoplay Magazine 
have been very satisfactory indeed, and that is the 
reason we have been with you continuously in all 
of the issues since we started with you six months 
or so ago. 

If your publication is able to maintain the present 

satisfactory results we arc getting from it. you can 

rely upon our being with you continuously in the 

future as in the past. 

With best wishes for your success, we remain 

Yours very cordially, 

WARD & COMPANY 
»J«M^» By P.Tyrrell Ward, Pros. 










1 




to 






f-mjk. 






fjlf~^&A 





Agents 



AGENTS — 500% PROFIT; FREE SAMPLES; 
gold sign letters for store and office windows; 
anyone can put on. Metallic Letter Co., 414 N. 

Clark St., Chicago. 

ADVERTISE — 20 WORDS IN 100 MONTH- 
lies, fl; 3 months, $2. Sample magazine free. 

Cope Agency, 831 Chestnut, St. Louis, Mo. 

FREE — TO ANY WOMAN. BEAUTIFUL 42- 
Piece Gold Decorated Dinner Set for distribut- 
ing only 3 doz. Free cakes of Complexion Soap. 
No money or experience needed. F. Tyrrell 
Ward, 210 Institute Place, Chicago. 

AGENTS — SALARY OR COMMISSION. 
Greatest seller yet. Every user pen and ink 
buys on sight. 200 to 500 per cent profit. One 
agent's sales $620 in six days; another $32 in 
two hours. Monroe Mfg. Co., X56, La Crosse, 
Wis, 

JUST SHOW THEM— THE NEW ADJUST- 
able floor and wall mops, dustless dusters and 
sanitary brushes sell themselves. Rig line. Big 
Profits. Agents write Silver-Chamberlin Co., 
Dept. P-M., Clayton, N. J. 



Books 



WRITE MOVING PICTURE PLAYS — FILM 
companies pay $10 to $100 for each play ac- 
cepted. Constant demand. Correspondence 
course not required. Our book tells all, sample 
play, list of film companies buying, etc. Write 
today for free details. W. L. Gordon, Publisher, 
Dept. 3D4, Cincinnati, O. 

WRITE PHOTOPLAYS — PRICES RANGE 
from $10 to $100 each. No correspondence school. 
See our large advertisement on page 164 of this 
magazine. Atlas Pub. Co., 994 Atlas Bldg., Cin- 
cinnati. 



Help Wanted 



RAILWAY MAIL AND POSTAL CLERKS. 
Examinations soon; over 2,000 appointments 
yearly. Prepare at home. Write for our Plan 
No. 309 of payment after appointment. Phila- 
delphia Business College, Civil Service Depart- 
ment, Philadelphia, Pa. 

DISTRIBUTORS WANTED— G O O D PAY; 
Steady Work; giving away packages Perfumed 
Borax Soap Powder with Soaps, etc. No capital 
or experience needed. F. Ward & Co., 210 Insti- 
tute Pl„ Chicago. 

GOVERNMENT POSITIONS PAY BIG 
money. Get prepared for "exams" by former 
Government Examiner. Booklet free. Write to- 
day. Patterson Civil Service School, Box 3017, 
Rochester, N. Y. 

FREE ILLUSTRATED BOOK TELLS OF 300,- 
000 protected positions in U. S. service. Thou- 
sands of vacancies every year. There is a big 
chance here for you, sure and generous pay, 
lifetime employment. Just ask for booklet 
S-1449. No obligation. Earl Hopkins, Washing- 
ton, P. C. 

WANTED— MEN TO GET MEMBERS AND 
establish lodges on commission basis for the 
Owls, South Bend, Indiana. 



Pictures and Post Cards 



"BEWITCHING FEMALE BEAUTY POSES," 
rare imported life models, hand-tinted, "true to 
nature," just the kind of pictures you have been 
looking for. Send dime for "nifty" samples (full 
size) and illustrated catalogue of "Real Fas- 
cinating" books, pictures, novelties, etc. You'll 
want more after seeing samples. Williams Pub- 
lishing Co., 721-M North Dearborn, Chicago. 



15 PHOTOS ON POST CARDS OF YOUR 
favorite Motion Picture Stars for 25 cents. In 
beautiful sepia. Each photo is autographed. 
Send stamp for list. American Publishing Co., 
Security Bldg., Los Angeles, Cal. 



CHICAGO SCENES — CITY'S MOST INTER- 
esting views; beautifully colored; 22 various 
pictures. Postpaid, 25c. Marshall Sales Com- 
pany, 2119 Marshall lioulovard, Chicago. 

' STUNNING PHOTOS OF GIRLS, FROM LIFE. 
Bewitching, unusual poses. Six very clear, 
charming cabinets for 25c. Reuben Olive, Will- 

mar, Minn. 

REAL PHOTOS OF PRETTY GIRLS IN BE- 
witching poses. Samples and list, 10c. H. V. 
Sun Co., Harrison. Mich. 

PHOTOS — HANDSOME MODELS, STUNNING 
poses. Samples 10c. Box 32D. Randolph, Mass. 

ART POSES, RARE IMPORTED MODELS. 
Samples, 10c. Tillberg, Proctor, Vt. 

Cameras and Photo Supplies 

FILMS DEVELOPED 10c, ALL SIZES. PRINTS 
214-314, 3c; 2^-414, 3% -3%, ZVi-iVi. 4c; Post 
Cards, 50c doz. Work guaranteed and returned 
24 hours after receiving. Postpaid. Send nega- 
tives for samples. Girard's Commercial Photo 

Shop, Holyoke, Mass . 

ANY 6-EXPOSURE ROLL FILM DEVEL- 
oped and printed for 25c. 12-exposure roll, 50c. 
21-hour service. H. Wolff, 3109 B. Grand, St. 

Louis, Mo. 

ONE ROLL FILM DEVELOPED AND 
printed for dime, as sample. V. Paddock, Ash- 
ton. 111. 



Music 



SONG WRITERS' "KEY TO SUCCESS" FREE! 
We compose and facilitate free publication or 
sale. Submit poems. Knickerbocker Studios, 
529 Gaiety Bldg., New York. 

SONG POEMS WANTED FOR PUBLICATION. 
Past experience unnecessary. Our proposition 
positively unequaled. Send us your song poems 
or melodies today or write for instructive book- 
let — it's free. Marks-Goldsmith Co., Dept. 89, 
Washington, D. C. 

SONG POEMS WANTED— SPLENDID PROP- 
osition. Prompt acceptance if available. Par- 
ticulars on receipt of compositions. Brennen, 
Suite 700, 1433 Broadway, New York. 

Copying and Typewriting 

YOUR PHOTOPLAY NEATLY TYPEWRIT- 
ten, 50c. Copy work. 10c page. Satisfaction 
guaranteed. Clifton Craig, Sedalia, Missouri. 



(CONTINUED ON PAGE 8) 



Photoplay Magazine — Advertising Section 



(CLASSIFIED SECTION CONTINUED FROM PAGE 7) 



Typewriters 


Games and Entertainment 


LARGEST STOCK OF TYPEWRITERS IN 
America — All makes: Underwoods, Olivers, Rem- 
ingtons, etc., one-fourth to one-half manufac- 
turers' prices, $15.00 up; rented anywhere, ap- 
plying rent on price; free trial; installment pay- 
ments if desired. Write for Catalogue 49, Type- 
writer Emporium (Estab. 1892), 34-36 West Lake 
Street, Chicago, Illinois. 


TRICKS, PUZZLES, JOKES, CARDS, DICE, 
Magic Goods, Ventriloquist Figures, Escapes, and 
Illusions. Big catalogue free. Oaks Magic Co., 
Dept. 203, Oshkosh, Wis. 

SEND 6c, HOME OF MAGIC, M ALBANY, 
N. Y. Get trick complete and catalogues Nov- 
elties, Magic. 






FACTORY REBUILT TYPEWRITERS. ALL 
Makes, $10 and up. Underwoods, Remingtons, 
Olivers, etc., one-fourth to one-half manufac- 
turers' prices. 15-Day Free Trial. Guaranteed 
for 2 years. Write for free catalog 11. Brook- 
lyn Typewriter Exchange, 725 Chauncey St., 
Brooklyn, N. Y. 


Duplicating Devices 


$2.40— THE "MODERN" DUPLICATOR. 30 
Days' Free Trial — 32,846 Firms use it to make 50 
to 75 duplicate ("Made in U. S. A.") copies of 
each letter, or anything written with pen, pen- 
cil or typewriter. Booklet Free. Main Office, 
F. C. Durkin & Reeves Co., 339 Fifth Ave., Pitts- 
burgh, Pa. 


Coins and Old Coins 


Slides and Novelties 


$4.35 EACH PAID FOR 1S53 DATE QUAR- 
ters without arrows. Hundreds of other coins 
wanted. Send 10 cents for New Illustrated Coin 
Value Book, 4x7. Get posted at once. Clarke 
Coin Co., Box 127, LeRoy, N. Y. 


BEAUTIFULLY HAND-COLORED LANTERN 
slides; photographic works of art; pretty poses, 
scenes. Send $1.00 for ten. Novelty Slide Com- 
pany, 67 West 23d Street, New York. 

20 BEAUTIFUL COLLEGE PENNANTS, ALL 
different, 9x18%, 30 cents. Heylmun Supply Co., 
Dept. P, Williamsport, Pa. 


FIVE WAR COINS, 10c. MACDONOUGH 
Coin Co., Dept. 5, 1065 Oakwood, Toledo, Ohio. 



RIDE GRANGER 

bicycle and know you bave the best. Buy a machine 
you can prove before accepting. 

DELIVERED FREE ON APPROVAL and SO days' 
trial. No expense to you if you do not wish to keep it. 
LOW FACTORY COST, j;rcat improvements and 
values never before equalled in our 19lo models. 

WRITE TODAY for our 6m; catalog showing our com- 
plete line of 1915 bicycles, TIRES, sundries and parts, and 
learn the wonderful new offers and terms we will give 
'you. Auto and Motorcycle Supplies at factory to user prices. Do 
not buy until you know what we can do for you. 
MEAD CYCLE CO. DfcPT. C-118, CHICAGO 




Write Movinf Picture Plays 



Film Companies pay $10 to SlOOforench play 
accepted. Constant demand. Correspondence 
course not required. Our book tells all. sam- 
ple play, list of film companies buying, etc. 
Write today for FREE DETAILS. 

W. L. CORDON, Publisher, Dept. 794, CINCINNATI, OHIO 





ANNOUNCEMENT 

OF INTEREST TO EVERY READER OF PHOTOPLAY MAGAZINE 

THE FAVORITE PLAYERS FILM COMPANY 

presents 

Carlyle Blackwell 



in 



"THE HIGH HAND" 



Favorite Players ♦< 

Film Company 
126 W. 46th St., N. Y. C. 



From the Novel by Jacques Futrelle 



A Romance of Love, Politics, Capital and Labor. Six 
Parts. A Story that stirs you! — a great romance! 
I am interested in "THE \ If V°« ™* to «e *«* *"<"* film, send us at- 
HIGH HAND" and should \ tacned coupon. Get your friends who attend 
like to see it at the theater % your theatre to write in and ask to have this 
I attend. \ picture shown at your theater. 



flame V 



Address \ 




RELEASED— MARCH 22nd 

Favorite Players Film Company — Alliance Programme 

126 West 46th St., NEW YORK CITY 



Photoplay Magazine — Advertising Section 




A boy of three is cast on a desert island — all that's left of a ship's company. On the 
opposite side of the island a baby girl is cast up. Both grow up — neither knows of the 
other. How they survive — how they meet — what they think — throws a light on how 
our prehistoric ancestors may have lived — a vivid picture of instinct and need for love. 
The title of this story is "Primordial," and it is one of many stories — stories that writers 
like Rex Beach, Booth Tarkington, Robert W. Chambers and others say are some of 
the best stories ever written by an American author. Today the writer of these stories 
is old, broken and penniless. 

You can help the genius who wrote these 
stories to come into his own and you 
can get a new set of his books FREE 



What They Say of His Stories 



Indeed, my dear Sir, you are 
a first-rate seaman — one can see 
that with half-an-eye. 

JOSEPH CONRAD, 

His stories are hully — his sea 
is foamy and his men have hair 
on their chests. 

BOOTH TARKINGTON. 

If you do not tell us soon 
what happens to Captain Bilke, 
I will have nervous prostration. 

RICHARD 

HARDING DAVIS. 

Morgan Robertson has written 
some of the best sea stories of 
our generation. 

GEORGE HORACE 
LORIMER, {Editor 
Saturday Evening /W.) 

What surprises me so is how 
the author gets under the skins 
of the bluejackets and knows 
how they feel. 

ADMIRAL "BOB" EVANS. 

The very ocean ought to rise 
up and bow to Morgan Robert- 
son for his faithful portraiture 
of itself and its people. 

RUPERT HUGHES. 



The trail of the sea serpent 
is over them all. 

WILLIAM 

DEAN HOWELLS. 

m It will give me great satisfac- 
tion to offer you my subscrip- 
tion. 

ROBERT W. 

CHAMBERS. 



The ablest writer of sea stories 
in this country, and sincerely 
hope that your venture will help 
him to gain that recognition of 
his work which is rightfully his. 
REX BEACH. 

The magic and thrill of the 
sea, that bring back to us the 
day-dreams of boyhood. 

FINLEY PETER 
DUNNE, 

{Mr. Dooley.) 

I know of no American writer 
more entitled to preservation 
in volumes. His whole life 
vibrates with experience and 
drama. 

ROBERT H. DAVIS 

of Munsey's. ' 



HERE IS OUR OFFER 

We will send you a handsome autographed set of 
Morgan Robertson's best works in 4 volumes without 
charge — we will pay for them — we will pay the cost of 
getting them to you — and we will pay a royalty to Mr* 
Robertson — if you will pay for one year's subscription 
to Metropolitan and McClure's at the same price you 
would pay if you bought them from your news- 
dealer every month, and in little installments 
Send only 10c. now. You will receive at 
once the set of books and the first f Photoplay 
copies of Metropolitan and McClure's. 
You then send us 50c. a month , __ ,_„ 
for seven months* And that's all. / METROPOLITAN 
If you prefer to pay all at once X*& Fourth Ave., N.Y. 
send only $3.25 with order or / Enter my subscription 
$5.00 for beautiful full leath- S for Metropolitan one year 
er binding. {Personal / and McClure's one year, 
checks accepted.) jr -w^ sent * Morgan Robertson's 

(Canadian and foreign postage jr ' Works, Autographed Edition, 
Magazines may be jr in four volumes, carriage prepaid 
by you. I enclose 10c. ar.d agree to 
send you 50c. a month for seven* 
, months to pay for my subscription. 
t<> e:the» magazine /• The books are mine, Free. 

Name , 



extra, 

sent to different addresses 
If desired. If you are 
present a subscriber 



your subscrip- 
tion will be 
extended.) 



Street. 



City and State. 



* Change to 11 months if you prefer beautiful full leather binding 



10 



Photoplay Magazine — Advertising Section 




We will send you postpaid 
a can of 




mmvmm™ 




— enough to polish a small floor.a piano.an automo- 
bile or several pieces of furniture. Johnson's Pre- 
pared Wax is a complete finish and polish for all 
floors, linoleum, woodwork, furniture, pianos, and 
for the body, hood and fenders of automobiles, 
limousines and electrics. It is very clean and easy 



to use. Gives perfect results over any finish — 
varnish shellac, oil, etc. Imparts a perfectly hard, 
dry, artistic finish of great beauty and durability. 
It is impervious to water, scratches, heel-marks, 
finger-prints, dust, etc., and can easily be kept in 
perfect condition. 




for the artistic coloring of all wood. With it inex- 
pensive soft woods may be finished so they are as 
beautifulas hard wood. Madeinseventeenshadesin- 
cluding Mahogany, Mission, Early English, Fumed, 
etc. Johnson's Wood Dye penetrates deeply — 

S. C. JOHNSON & SON, Racine, Wis. 

/ enclose 10c for Instruction Book on Home F; 
Beautifying and a can of fohnson's Prepared 
Wax— -sufficient for a small floor, an automo- r 
bile, a piano or several pieces of furniture. I 

Name 8 

Address j 

City or State 



is economical — dries quickly and is very easy 
to use. It has no equal for finishing new furniture, 
woodwork and floors and for doing over old work 
of this character — for staining basketry, etc. 

Free Instruction Book 

The new edition of our 25c booklet "The Proper 
Treatment for Floors, Wood work and Furniture" 
is just off the press. This book is the work of 
famous experts — it is full of valuable ideas on 
home beautifying — illustrated in nine colors. 
Use the coupon for a copy. 

S. C JOHNSON & SON 

u The Wood Finishing Authorities" 
RACINE. WIS. 




DOROTHY GISH 

was born at Dayton, Ohio, March 11th, 1898. She began her photoplay career 
with the Biograph company about two years ago, leaving it for the Reliance 
when D. W. Griffith took charge of that concern. She has had experience on 
the stage as well as in the studio, and is said to be one of the prettiest blondes 
before the camera. Her eyes are blue. 



Photoplay Magazine 



as 



m 




J. WARREN KERRIGAN 

began his career as a reel hero with the Essanay company, from which he 
went to the American, and thence to the Universal, where he is at the present 
time. He is twenty-five years old, and has been in the pictures for five years. 
He lives with his mother, brother and sister at Hollywood, California. 



Photoplay Magazine 



SE 



1M 




r M 



GRACE WASHBURN 

was engaged this Spring to be the leading woman of the Charles K. Harris 
Feature Film Company. Her first screen appearance was in "When It Strikes 
Home." Miss Washburn, incidentally, has a dash of Indian blood in her, tracing 
her descent from the Cherokee Indian chiefs. She has been a favorite in Eng- 
land and Russia as well as this country for several years. 



Photoplay Magazine 




FRED MACE 

is one of the old line comedians of the screen and is known lrom Coast to 
Coast wherever films are shown. He originally appeared with the Keystone 
company, and at the present time is heading a new organization, the Apollo, 
with headquarters at New Rochelle, N. Y. 



Photoplay Magazine 



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1M 



LM. 



SUE 





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SALLIE CRUTE 

is a native of Chattanooga, Tennessee, and is one of the most consistently 
ambitious girls on the screen, never, apparently being satisfied and always 
wanting to do herself one better. She is considered as one of the cleverest 
and most promising of the young studio comediennes. 



Photoplay Magazine 



HE 



m 




WILLIAM ELLIOTT 

is a son in law of David Belasco, and has been for some time recognized as one 
of the ablest actors on the American stage. He left the speaking drama, in 
which his recent success was as Youth in "Experience" for the movies this 
Spring. Mr. Elliott is remarkable for being a unique combination of artistic 
and financial ability. 



Photoplay Magazine 



re 




LOUISE VALE 

is the new leading woman of the Biograph company. She is a piquantly beauti- 
ful girl, of a Latin type, and as a result is particularly forceful in romantic 
plays, strongly emotional parts, and parts of the Gypsy type. 



Photoplay Magazine 



1® 




FRANKLIN RITCHIE 

is the "leading heavy" of the Biograph company. He comes from the Pacific 
Coast where he was well known as the villain in the good old days of the 
ferocious stage melodrama. He is equally well known as a hero, however, and 
is a man of great versatility. He was for some time connected with the Mor- 
osco stock organization in Los Angeles before going into the movies. 



Photoplay Magazine 



&:e 



m 






™ 



mn 



91 



RITA JOLIVET 

makes her debut in America as a moving picture actress this season, although 
she spent last year with the Ambrosio company in Turin, Italy, it being her first 
studio experience after several years as a stage star. Miss Jolivet was born in 
sunny France, and has all the fascination and exquisite technique of the finished 
French actress. 



Photoplay Magazine 



BE 




as 



MACK SWAIN 

began his theatrical career in Salt Lake City at the age of eleven. 
He became a famous vaudeville comedian, leaping from success 
there to a scream of popularity as the indescribable "Ambrose" of 
the Keystone collection of comedy. Swain's comedy is a thing 
absolutely of his own invention. 




Photoplay Magazine 




MAE MARSH 

is an exhibition of David Griffith's ability to discover latent genius. She is 
the sister of Margaret Loveridge, through whom she was first brought to 
Griffith's attention at the time he was a director with the Biograph company. 
She is at present with the Reliance and Majestic companies and is a recognized 
Mutual star. She is a past mistress of realism on the screen. 



Photoplay Magazine 




DAVID GRIFFITH 

is admitted to be, by a consensus of opinion on the part of those who know, 
one of the greatest photoplay directors in the world. It is doubtful if there 
are three other directors in America as well known to the people at large as 
is Griffith. In the production of terrific and awe inspiring spectacles on the 
film, he is a master. 



Photoplay Magazine 



&E 



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BESSIE BARRISCALE 

new star of the New York Motion Picture company, is one of the best loved 
and cleverest young actresses of the country, and is a product of the Morosco 
engine of artistry. Though long the most prominent amongst the younger 
actresses of the Pacific Coast, she attained nation wide celebrity as the 
Hawaiian girl in "The Bird of Paradise," about three years ago. 



Photoplay Magazine 



HE 




m 



imbme 



JULIA SWAYNE GORDON 

one of the handsomest women on the screen today, has been identified practic- 
ally throughout her career in the studio with the Vitagraph Company of 
America. Miss Gordon is one of the most temperamentally brilliant of the 
great photoplay actresses, and was the first of the American stars of the camera 
to attain international renown. 



f: 



Photoplay Magazine 




Moffett Photo, Chicago 



INA CLAIRE 



was born in Washington, D. C, and was educated there at Holy Cross Academy. 
She first appeared in vaudeville, then went with Richard Carle in "Jumping 
Jupiter." Last season she made a great success in London with Sam Bernard 
in "The Belle of Bond Street." Miss Claire is making her debut before the 
camera under the Jesse L. Lasky management. 




The progress of an army in "The Birth of a Nation," David Griffith's great moving panorama of the Civil War, which is the biggest and most 
comprehensive picture ever attempted, dwarfing in spectacular effects and number of people employed even the mighty "Cabiria," which only a 
year ago set a record which at that time seemed almost impossible of attainment. The better part of a year was occupied in making "The Birth of a 
Nation," cameras were planted for its scenes from the Atlantic to the Pacific, thousands of players appear in it, and it cost nearly half a million dollars. 







REG. U. S. PAT. OFF 




Pickford 



the Second 




THIS ONE 15 LOTTIE, 
MARY'S LITTLE-BIG 
SISTER, AND SHE'S ON 
THE GLORY ROAD 



By K. Owen 



THE Pickfords, 
royal family of 
the continent of 
Photoplay, have 
annexed another king- 
dom. 

Lottie, after two years of 
self-imposed retirement, 
has returned in greater 
glory than ever: she is the 
star in the interesting new 
serial, "The Diamond from 
the Sky," now being picturized by the 
American Film Company at Santa Bar- 
bara. California. 

After severing her connection with the 
Imp Company, two years ago, Lottie 
created the leading role in "The House of 
Bondage," a six-reel feature. Before her 
retirement she was starred by The Famous 
Players, in several productions. 

Can you imagine Mary piloting a racing 



The Star of "The Diamond 
from the Sky. " 



motorcycle, doing 
a buck and wing 
dance, or diving from 
a fifty foot cliff? What? 
That's the difference 
between Mary and her sis- 
ter Lottie. 

And it might be well to state 
right here that this story is 
about Lottie Pickford and it will 
be about Lottie, although neces- 
sarily there must be some refer- 
ence to Mary, about whom has already been 
said and printed all that can be said and 
printed. So remember that this is Lottie's 
story and not Mary's, although as stated 
hereinabove, Mary must figure quite exten- 
sively in it because she is part of Lottie's 
life. It is regrettable that Lottie cannot be 
the only Pickford in it now that she has de- 
veloped into a full-fledged star in her own 
right. So just to even up things and make 



28 



Photoplay Magazine 



long delayed restitution, little Mary will 
have to play "just sister," for 
once — at least for the purpose \ Yh 
of this story. 

There is a wide differ- 
ence between J§^ \ 




Lottie 
and her 
sister. 1 n 
physical ap- 
pearance a n d 
d i s position 
they are 
wholly unlike. 
A 1 t h o u g h 
younger by 
more than a 
year, Lottie is 
the taller by 
two inches. 
Whereas Mary 
is dainty and 
a 1 together 
f em i n i ne, 
Lottie is 
lithe, agile 
and boyish, 
though not 
at all mas- 
culine. Wit- 
ness the mo- 
torcycle, high dive, 
etc. There is nothing 
of the clinging vine 
about Lottie, . nothing 
dependent, or anything 
like that. Her alertness of 
mind is matched by her 
grace and alertment of body. 
In both mental activity and 
physical agility. Lottie is a 
"live wire" and if she does not 
forge ahead now that she has 
branched out as a featured, 
big-typed attraction 
"on her own," it 
won't be Lottie's 
fault. Of course 
she will always be 
fighting against 
the handicap of 



being Mary Pickford's sister, but she hopes, 
without detracting a whit from Mary's 
fame, that some day folks will forget that 
she is a "sister" and remember only that 
she is a real actress who need not depend 
on a family name to get her share of fame 
and what goes with it. 

Reverting to comparisons before proceed- 
ing with the story proper, and to clear up 
any vagueness in the mind of the reader as 
to Lottie's physical personality, it may be 
stated that she also differs considerably 
from her sister in natural "make-up." Her 
hair is dark, almost black, and not so curly, 
though still quite curly ; her eyes violet 
between dark lashes, a Celtic inheritance 
from "Manager Mamma." 

"Manager Mamma" Pickford herself is 
worth a story in any old magazine, and de- 
serves it, too, for giving to the world two 
such daughters, to say nothing of "Jack," 
the baby of the family, now approaching 
manhood and perhaps fame of his own as 
a motion picture star. "Mamma" acquired 
her business acumen, which no manager is 
disposed to question, at least not more than 
once, in a hard school. Herself debarred 
from becoming a dramatic star because of 
a delicious brogue which restricted her 
Thespian activities to "Irish parts" — there 
was no "Peg-O'-My-Heart" in those days — 
"Mamma" had some pretty hard sledding 
in the old days when "Daddy" crossed the 
great divide and left her with a trio of 
kiddies. 

Considering the assignment of interview- 
ing Lottie, I felt that it would be a rather 
delicate undertaking. Surely she must re- 
sent her sister's wonderful climb to fame 
and fortune. But not so. 

"I was never jealous of Mary — not the 
tiniest bit!" averred Lottie, so convincingly 
as to allay the suspicions of the veriest 
skeptic. "I have gloried in her success. 
And I don't think she would ever feel that 
way toward me if I should become as 
famous. We have always been inseparable, 
and always will be, in spirit if not in body. 

"Perhaps it is because we are so different 
that we get along so well. I have been 
accused of being more aggressive than 
Mary and perhaps I am, because I have a 
horrible distaste for turning the other cheek 
when someone swats me. 

"It's just the same when anyone is un- 
kind to Mary. You see I feel something 
like a big brother toward her now that 1 



Pickford the Second 



29 



am so much bigger ( Lottie is five foot three 
in Mary Janes) and I would and do fight 
just as readily for her as for myself, and 
that is some readily, I can assure you ! 

"The history of my life? All right. 
Ready. Camera : 

"I was born June 9, 1895, which will 
make me twenty years old in just a few 
weeks more. Do you know that 
it is a terrible thing 
your teens and get into 
twenties?" 

Considering this as 
personal interrogation, I 
assured Miss Pickford 
that my teens were so 
far away as to con- 
stitute ancient his- 
tory, of which I 
never was particu- 
larly fond. 

"But it's so differ- 
ent for a girl, and" — 
with a . hasty glance 
into the future — "I 
never will be able to 
cheat about my age be- 
cause people will always 
remember Mary's age and 
that way keep track of mine, 
if I'm worth it. (Mary was 
twenty-one April 8, so she can 
vote now if she stays in Cali- 
fornia.) 

"I was christened Lottie 
Stella after mamma, whose name is Char- 
lotte, but I've never featured the Stella. I 
never did like that name, but as it means 
'star' perhaps there may be something 
prophetic about Mamma's christening idea. 
At least I hope so. 

"Daddy died when Jack was a little baby. 
Mary and I were not much more, as Jack 
is only two years younger than I ; my debut 
on the stage was made at the age of three 
years. Of course I could tell you all about 
it and what my sensations were, except that 
I don't remember a thing! I do know, 
however, that Mamma had no cinch making 
both ends meet and keeping three young- 
sters in clothing that would meet the ap- 
proval of Anthony Comstock. 

"Mary's story has been published lots of 
times, and mine is about the same. 

"Usually when Mary had a good part, I 
understudied her both wavs from Little 
Eva. 




Her hair is almost black; 

her eyes, violet between 

dark lashes — a Celtic 

inlieritance. 



"All of us were with Chauncey Olcott 
for three years and I had my first chance 
as understudy for Mary in 'The Fatal 
Wedding,' and made good. I had a dandy 
part in my last year with Mr. Olcott, play- 
ing Sheilah in 'Ragged Robin' and at that 
time I got perfectly splendid notices, quite 
eclipsing Mary. I only mention that be- 
cause I really 'had it on her' then. 
'I went into pictures at the 
same time Mary did, about 
six years ago. My first 
part was that of the 
Cardinal's page in 'The 
Cardinal's Snuff Box.' 
It was with the Bio- 
graph Company, and I 
felt very proud be- 
cause I appeared 
throughout the thou- 
sand feet of it. 
Since that time I 
have been with the In- 
dependents, P a t h e, 
Vitagraph, Kalem and 
Famous Players, but I 
do not believe I will ever 
enjoy anything so much as 
those first child parts. 
"Last January I came out to 
California with Mary and the 
Famous Players. I like the 
work in Los Angeles, but I 
knew there was no chance of 
getting very far with that com- 
pany as long as they were featuring Mary. 
One Pickford at a time is enough for any 
company to feature; so the offer from the 
American at Santa Barbara received ready 
consideration. 

"We have already turned out several 
episodes, although they will not be known 
as episodes or anything like that. 

"As I understand it, 'The Diamond from 
the Sky' will be the screening of a com- 
plete mystery novel, and it will take thirty- 
five weeks to finish it. Do far they have 
not told us much about it. I guess they 
want us to help the public do the guessing, 
as they just carry us along from chapter 
to chapter. 

"One reason why I was so eager to 
take this offer was because I thought there 
would be a chance to do 'stunts,' like rid- 
ing a motorcycle on a wild chase or taking 
an aeroplane flight, or high dives. But 
Mamma says nothing doing on the stunts. 



30 



Photoplay Magazine 



"What's the use of knowing how if 
your folks won't let you? 

"The people at Santa Barbara 
have treated me royally and I ex- 
pect to get as much pleasure out of 
acting in the picture as I hope tlv; 
people who see it will receive. 

"I had one thrilling ex- 
perience last week, when a 
horse kicked me in the 
chest. Yes, he did ! It 
was a sure enough kick. 
He w-as a trained horse 
and lie was prancing around 
on his hind legs with me trying 
to yank him down with the 
bridle when he slapped me 
over the heart with one of his 
paddies. It knocked the breath 
out "of me and it was two days 
before they would let me go 
back to work. 

"Wih.ie.ii Mamma hears 
about it she will want me to 
come right to Los Angeles 
and I will sorrowfully tell 
her that it can't be did. 
She has as much of a hor- 
ror of stunts as I have of 
having people at the depot 
when I leave for any- 
where. When I left Los 
Angeles. I- wouldn't let anyone 
come to the depot. It's too much 
like playing leads in a funeral. 
. "Of course I miss Mamma, 
Mary and Jack. We have all been pals 
for so long and I know I will miss them 
more when they go back to New York this 
summer. But my work in Santa Barbara 
ought to keep me pretty busy. 




Lottie is lithe, agile, 
boyish — taller than 
Mary by two inches. 



"I want to take back what I said 
about never being jealous of Mary 
before you go. 1 have been jealous 
of her in the past, but it has been 
something of a secret with me. It 
had nothing to do with her suc- 
cess. It was only because I 
thought Mamma paid more at- 
tention to her than she did to 
me. 

"Oh, yes — but I know she 
has. It wasn't imagination, but 
I am beginning to realize why 
it was. It's hard to explain, 
but vou can probably under- 
stand when I tell you that 1 
wouldn't talk to her director for 
weeks because he scolded her 
for taking too much time for 
lunch. Mary isn't the kind to 
get angry over anything like 
that so somebody has to do it 
for her. 
"Let me tell you (this very 
confidentially) no one will ever 
have to fight for me !" 

But for all this belligerent talk, 
there is nothing hoydenish or vix- 
enish about Lottie. Her obvious 
ability to take care of herself does 
not detract in any degree from her 
sweet girlishness and if she does 
not "get on" rapidly now that she 
has her chance, it will be no fault 
of Lottie's. Her blue eyes and 
black lashes constitute only the 
least of her inheritances from her very 
capable mamma. Added to them is the 
imagination, the charm, and the wit of the 
Celt that has e'er now made great poets. 
great soldiers — and stars. 



The Precious Twins 

D ARE twins are these; w 7 e cherish them alike, 

**Yet equal joy to them are frowns and grins. 

Each has its plan and place, like pond and dike, 

Yet 'round the circling track each toiler spins. 

Distinct in service as "receive" and "strike," 

But neither owns the prizes which it wins. 

In looks as similar as nail and spike — 

Two little handles are these precious twins: 

On cam'ras one inwinds the living pictures, score on score ; 

And one unwinds the scenes before the wee projection door. 

— .Wary H . Coates. 



The 




n of the Rose 



HOW THOMAS INCE AND 
GEORGE BEBAN HAVE COM- 
BINED THE ARTS OF PHOTO- 
PLAY AND SPOKEN DRAMA 



THE latest step in the 
development of the 
photoplay is a re- 
markable combina- 
tion of motion picture 
and spoken drama. The 
photoplay introduces 
the characters, gives 
shape and develop- 
ment to the plot, 
piles up the situa 
tions, arrives at 
the denouement — 
presto! The 




Beban as Pielro; and the Flower Shop in 
of the Rose." 



The Sign 



screen disappears, the lights ap- 
pear, and the very actors whose 
silent shadows have been creat- 
ing very real emotion appear in 
person and carry the story 
swiftly to its logical completion. 

This is Thomas A. Ince's 
idea treatment of George Be- 
ban's little one-act masterpiece, 
"The Sign of the Rose," which, 
it is safe to say, has been seen 
everywhere that vaudeville has 
reached first-class proportions. 

Beban has been on the Coast 
for many weeks, laboring with 
I nee. 

31 



32 



Photoplay Magazine 



Those who have seen "The Sign of the 
Rose" will recall that it is the story of a 
poor Italian immigrant who comes to a 
fashionable Fifth avenue flower shop for 
blossoms for the bier of his "leetla Rosa," 
who, since the untimely death of his wife, 
has been his only companion, the only one 
who "understands." Beban has been just 
as successful with the piece in London and 
Paris as he has in New York, Chicago, 
San Francisco and half a hundred more 
American cities. His characterization in 
point of accuracy is the best bit of Italian 
lowly life ever seen on our stage : in pathos 
and sincere heart-interest it ranks with 
Warfield's "Music Master." 

• As the climax of the film play ap- 
proaches the screen does a rather startling 
"fade-out" on its own account, and Thor- 
ley's (the flower shop) appears quickly, 
with the people of the play in their cos- 
tumes, and in the identical positions de- 
scribed in the last glimpse of the photo- 
play. 

Those who have seen this production say 
that the demonstration is a surprisingly 
strong argument for the photoplay: that 
Beban's facial emotion, magnified to in- 
tense proportions in the "close ups" of the 
picture, is infinitely more convincing than 
the patently false illumination, the con- 
fined settings and the more or less distant 
figures of the theatrical stage. The dura- 
tion of the play from this point, is, how- 
ever, so brief, and its emotion so strong, 
that its vitality balances what is lost by 
the departure of Ince's splendid camera 
work. 

Pietro, the immigrant, is seen only in 
the flower shop in the vaudeville sketch. 
In the film play his life story is told. The 



advantages of the screen in this respect 
are manifest in the various scenes in which 
Pietro is introduced, for the audience is 
made to know all the joys and sorrows of 
his existence: his laughter, as well as his 
tears. It is probable that the ample ten 
reels of film will be somewhat reduced in 
actual presentation, but in common with 
the several other really big American di- 
rectors, Ince "takes" voluminously, and 
then reduces with painstaking care, and 
an eye solely to continuity and the proper 
effects of dramatic climax. 

"The Sign of the Rose" has had the 
effect of practically removing Mr. Beban 
from new stage roles for several years. In 
common with other effective portrayers of 
real-life tragedy, he was at first a come- 
dian, and a very successful one. He and 
David Warfield are only two of the nu- 
merous proofs that healthy laughter and 
the sincere tear are near kin. Warfield 
attained great celebrity as comedian with 
Weber and Fields, and his first stellar ve- 
hicle was a curious compound of gulps and 
laughs. Beban was an actor of French 
grotesque characters. His performance of 
the milliner's boy in an almost-forgotten 
musical comedy, "The American Idea," 
lifted it up into the only success it attained. 
While it was the only thing that made the 
play possible, it gave him a great reputa- 
tion. 

The debut of Beban into the arena of 
shadowgraph)- is something that may well 
occasion interest in every circle of picture 
fandom, for he is such a character-creator 
as the screen has long needed. 

The release of the new Ince-Beban "Sign 
of the Rose" will probably be followed 
with further interesting announcements. 



The July issue of Photoplay Magazine will be on the 
News-stands June 1st. Thousands were disappointed last 
month because their newsdealers were sold out. Order 
Your Copy in Advance and remember that we have moved 
to our new home at 350 North Clark Street, Chicago. 



Love Among the Lamps 



33 




HP AKING the first picture ever made at the new indoor studio in Universal City. The 
*■ subject was the final episode of "The Master Key," and back in the jungle of Cooper- 
Hewitts may be discerned the "Master Key's" leading figures: Robert Leonard and 
Ella Hall. This studio is declared a marvel in scientific lighting, its illuminations being 
an approximation of sunlight in quality and brightness. 



Carlyle Blackwell Moves 



CCREEN devotees from coast to coast 
**^will be interested in the news that 
Carlyle Blackwell has just signed a Lasky 
contract, and will appear as leading man 
with Ina Claire, in the forthcoming Lasky 
releases. These two players should make 



a superb and redoubtable popularity team. 
Miss Claire is internationally renowned as 
a comedienne on that stage which augments 
its resources with voice and footlights ; 
Mr. Blackwell is not less well known as a 
photoplayer. 



Those Lips: Keep Guessing! 

DHOTOPLAY MAGAZINE is not solving the "lip puzzle" this month. 
Speculation is too keen ; a tardy interest has grown too rife. The May number 
of the magazine contained a double page of "lip portraits" of favorite players, 
with a challenge to name the owners of the respective and assorted mouths. Pre- 
liminary studying on this page must have been careful, for it was deliberate. Then, 
quite suddenly, the answers began to make the mail man weary. The volume has 
grown every day. At the hour of going to press, there is a substantial daily 
avalanche. 

The solution of this mastery of mouths will be printed in July. Meanwhile, as 
Caesar was warned concerning the Ides of March, the editor bids you beware of 
Mouth No. 2. A lot of you are going wrong on — well, the name is up to you ! 



34 Photoplay Magazine 

i£ iii!i!iiiiaa;iiiiiiiiiiiiaai;iiiiiiiii[i« 

What Your Favorite 

A SLIGHT FORECAST OF THE 
LESS "VACATION SEASON" THE 

THE summer plans of The Famous Players embrace the world and the seas thereof. 
Mary Pickford is going to Japan, there to make a great photodrama of the immortal 
"Madame Butterfly,'' playing Cho-Cho-San in her own native surroundings. 

Pauline Frederick, on the other hand, will be sent to Southern Europe and Egypt for 
an equally elaborate picturization of Robert Hichens' famous novel and drama. "Bella 
Donna." 

The Laskvites * NA Claire, the musical comedy star, will remain in Hollywood, Cali- 
y fornia, and will complete a feature photoplay called "The Wild Goose 

Chase," under the direction of Cecil DeMille. Another Lasky star production will be 
Miss Charlotte Walker*s depiction of "Kindling," Charles Kenyon's powerful play, in 
which Margaret Illington made an extraordinary furore some years ago. For Lasky, 
also, Edgar Selwyn is building an entire Bedouin village for "The Arab"; Fannie Ward 
is enroute to California for the summer, and Louis Mann and Donald Brian are destined 
for a Southern California "dry season." Blanche Sweet's next play, upon which she will 
probably work the most of the summer in Hollywood, is "Stolen Goods," an adaptation 
of Margaret Turnbull's book, "Keeping Up With Sandy." 

u Rin&tH>T>1iai>e" Louise Vale, Isabel Rea. Gretchen Hartman, Claire MacDowell, 
mograpners Frank i in Rj tc hi e , Charles H. West, Harry Carey and Alan Hale— all 
of The Biograph company — are soon due to return from California to the Bronx studios 
of this concern, there to begin the production of famous plays and dramatized stories. 
One of the first of these will be "A Celebrated Case." Roy Norton has been engaged to 
write photoplays for Biograph summer presentation. The "Biographers" named are only 
the best known principals of a pictorial regiment seven companies strong, all planning a 
heavy summer in the greatly enlarged filmery in the northern part of New York City. 

£ssanav Tournev Essanay of Chicago is planning to send its various companies 
y j ey South for the summer, there to make Southern plays in Southern 

scenes. The first to go will do its premier work at Chattanooga, Tenn., and will be under 
the direction of E. H. Calvert, with Bryant Washburn, Lillian Drew, Mabel Forrest, 
John Cossar, Grant Foreman, Eugene Acker, Bertram Bates. Betty Scott, May Skinner 
and Jack Meredith. When this group returns another company will be sent South. 

Lubin Perhaps the biggest and most definite of all the summer programmes has been 
laid out by the Lubin company, which will keep hard at work throughout the 
hot months no less than eighteen distinct organizations ! The main centers of summer 
Lubin activity will be the big Philadelphia studio and the three smaller studios on Lubin 
Ranch, a short distance from the Pennsylvania metropolis. The companies here will be 
directed by Arthur Johnson, Barry O'Neil, Joseph Kaufman, John E. Incc, George W. 
Terwilliger and Edgar Jones. Rose Coghlan, Ethel Clayton, George Soule Spencer. 
Dorothy Bernard, Lilie Leslie. Gladys Hanson and other Lubin favorites will be seen in 
such plays as "The Light Eternal," "Mrs. Dane's Defense." "The Great Divide," "Sporting 
Life." "The Great Ruby," llobart's "Dinkelspiel" and "John Henry" stories, Clyde Fitch's 
"The City," "The Truth," and "Captain Jenks." Romaine Fielding, Lubin's wandering 
director, is at present at Phoenix, Ariz., but will probably make pictures this summer 
(writing his own scenarios) in California, Hawaii Territory and Alaska. Lubin has 
established a comedy center at. Jacksonville, Fla., under the direction of Arthur Hotaling. 
Billy Reeves, the English, comedian, will make many pictures there this summer. 

Fox Features "^ HE ^ ox F'' m corporation finds its biggest summer star in William 
aiur Farnum, whose next heavy work for that house will be Roy Norton's 
Western story, "The Plunderer." In this it is promised that the doughty "Bill" will have 
a fight rivaling his Homeric encounter in "The Spoilers." The scope of the Fox summer 
work may be realized when it is known that works of Zangwill. Belasco, Bernstein, 
Sutro, Chambers, Carleton, Sheldon. Tolstoi and Dumas are already on the stocks for 
completion before autumn. 

- : ■ 7 ■"':■•!. .:; !.!..:;!;::.:.';:!:!i:!i;'i!:;i:r:!!! ;:■■ -< -.; '" ■:!!!•:>'■ v : ay: ■-:i : :i:E::--! , :j;!':::i!:: ; !-:t!-:=::- :s.::.i j: ■ • .. .: --u :. \ wf\ iiiiiiiiiEiiiiiii'iiiiiiiiiiiiiiiiiwiiii'iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniif ii:i 



What Your Favorite Will Do 35 

Hlillllllllillilllllliiiiliaiillilllilillllllllaliffl 



Will Do this Summer 

MOST ARDUOUS AND BREATH- 
PHOTOPLAYERS HAVE KNOWN 

RlaoViirall o<- T17ni.V Carlyle Blackwell, just returned from New York, is completing 
DWCKweu at wore j aC q Ues Futrelle's big story, "The High Hand," and will imme- 
diately take up work on another feature. H« expects to remain working in Los Angeles 
throughout the summer. 

Morosco Plans Oliver Morosco — who now seems to be both Bosworth, Inc., and the 
Oliver Morosco Photoplay company — has a very definite rising star in 
Miss Myrtle Stedman. Miss Stedman won several recent popularity contests, conducted 
by newspapers, and she has already appeared in several big releases. Morosco summer 
features will be "The Jade Idol," "The Judge and the Jury," "The Society Pilot," and 
"The Half Breed." Mr. Morosco will produce "Peg o' My Heart," and "The Bird of 
Paradise" on the screen this summer, with Peggy O'Neill in the first, and Lenore Ulrich 
in the second. 

PouwIpV fn Pi,„niu> George Kleine is sending Irene Fenwick to Europe this summer, 
renwicK to curope tQ make a production of "Hawthorne of the U. S. A.," in what- 
ever Balkan state is not upset by the conflagration of war. Kleine is also sending another 
company of American players, for summer productions, to his new Italian studio at 
Grugliasco, on the mountain lakes. 

Selik Specials "^ HE - Selig Polyscope company is preparing a number of its spectacular 

B v specials for early release. Kathlyn Williams and her company, under 

the direction of Colin Campbell, are finishing "The Ne'er-Do-Well" in Los Angeles, 
out-door scenes for which were taken in Panama. "The Carpet From Bagdad" is to 
be another summer release. 

The Seligs will also release a big serial, probably very late in the summer, as most 
of the warm months will be occupied in taking it. This is to be called "The Chronicles 
of Bloom Center," and an entire village has been built for it in California. 

Tom Mix is writing a new series of Western plays for himself. 

Tyrone Power's stellar features will come along rapidly; Harry Mestayer will be a 
new star making his Selig bow, and others to appear include Grace Darmond, John 
Charles, Irene Wallace and Harold Howard. 

Pn+li XtA\ar%A Qforc Pat.he is to feature Ruth Roland throughout the summer in 
Kutft Koland stars . fe new sgries „ Who Pays? .. 

rVmffi+Vc N aT t.? ? David W. Griffith is already at work in California on a twelve- 
vjruiirn s r-iext j f red p]ay which j( . jg said win be a riva , q{ .. The Birth of A 

Nation" in size and impressiveness. Name and nature : very secret. 

VaiTc+nno Snmwo Keystone, it is reported, will go in a bit for romantic comedy, 
iveysrone Romance with Mabe , Normand> suppor ted by Owen Moore. 

At the same time Director Sennett is enlarging his comedies, and is soon to return 
to the screen himself, in a four-reeler. 

"The Goddess" ^ NE °* l ' le n1 ° st ' nterestm g announcements that has proceeded from 
Brooklyn is that concerning "The Goddess," the big new fifteen- 
episode Vitagraph serial, in which Anita Stewart will play the title-role, co-starred with 
Farle Williams. Ralph Ince is the director, and the company has gone South for the 
first pictures. 

At Balboa J ACKIE Saunders is Balboa's rapidly rising star. "Ill-Starred Babbie," 
scenario by a Catholic priest of the Pennsylvania coal regions, is rapidly 
nearly completion, and other stories will be written for Miss Saunders' summer picturing, 
bv the same author. 



"!! |: :*.i.' 



Edward Earle: 

Indifferent Idol 



By J. de Ronalf 



ALL through 
the romance 
of the ages 
there is a 
little truth that 
crops up which very 
few people ever 
think of — that per- 
haps, the "punch" 
writers would de- 
ride: but it's true. 

Women love the 
quiet, scholarly 
young man. Give 
him good looks and 
wit and he is that 
fascinating mascu- 
line creature every 
woman fears and 
therefore loves — the 
irresistible lover. 

What girl can 
keep her affection 
from the man who 
is like a handsome, 
somewhat s h y 
grown-up boy ? And 
if from that quiet- 
ness, the rapier-like 

power of a keen intellect flashes — Ah me ! 
Many a little heart has been split in twain 
upon the keen edge of an epigram ! 

Such a type of man is Edward Earle, 
the young leading man of the Edison stu- 
dios in New York. When he is not busy 
at one of the many scenes which take up 
his day, he will be found, nine times out of 
ten, curled up in a great armchair some- 
where, reading a book and with an enor- 
mous pipe in his mouth. Sometimes there 
isn't anything in the pipe : but that doesn't 
make any difference. Its presence assists 
concentration, and that is all he wants. 
Much of his charm rests in the indifference 




"Women love the quiet, scholarly young man. Give him 
good looks and wit— and he is irresistible. What girl 
can keep her affection from the man who is like a somewhat 
shy, grown-up boy ? " 



to all things of 
eSr tli, including 
girls, which is the 
most valuable of all 
rewards the scholar 
r e c e i v e s — for it 
makes him inde- 
pendent. No mat- 
ter how his heart 
may be torn, he can 
always return to 
those faithful 
friends on the book- 
shelf who are with 
him always, existing 
only to make him 
happy. And their 
beauties, u n 1 i ke 
those of fair women, 
are as lasting as the 
music of the sea and 
the glory of the 
stars. 

I found Edward 
Earle. quite natur- 
ally, therefore when 
I went to the Edi- 
son studio a-hunting 
for him, curled up 
in a large property lounge with a book and 
an unlighted pipe. 

Tentatively I broke the news that I had 
come to find out a lot of things from him 
about himself. 

He dropped the pipe and book, arose, 
asked me to be seated, and was cordiality 
itself. 

"I am afraid you won't find me a very 
interesting person," he began modestly. 
"As you see, I am a distressingly 'home 
man.' Balzac or Stevenson is to me what 
'a night out' would be to some men. I 
work so hard during the day at the studio 
here — and acting, real, earnest, intellectu- 



Edward Earle: — Indifferent Idol 



37 



ally-inspired acting is a strain — that I wel- 
come my books and pipe like a child de- 
prived of his story book. And I've got the 
finest collection of pipes !" he enthused. 
"Some from every part of the country, 
others, gifts to me. But I forgot you are 
a woman," he remarked smilingly and guilt- 
ily, "and you are probably more interested 
in cooking and such things. Well, I'm 
as much at home cooking as at smoking. 
Nothing I like better — in the kitchen when 
I can't get away to the woods and out of 
doors. And I can cook some corking good 
dishes," he assured me as he caught me 
smiling. "But I guess my greatest dissipa- 
tion is skating. 

"But, really, one doesn't get much time 
for his own recreation when he is a photo- 
player," and I added — "and a favorite." 
He looked at me doubtfully as if he thought 
me trying to "josh" him, and smiled re- 
provingly. "I believe that if a man at- 
tempts to play leading roles he should take 
very seriously the obligations, in a way, 
placed upon him. For this reason, I an- 
swer every night, religiously and person- 
ally, all letters sent to me — and it's 'some 
job — and give them my views and advice 
according to whether they query me on 
women suffrage or 'how to break into the 
movies.' But I must confess that some 
problems put up to me are rather delicate 
to handle." He laughed. "Such as the 
other day when I received a glowing letter 
of admiration from a young girl fan and in 
the next mail, a similar letter from her 
mother, telling me not to 'mind daughter' 
as she, the mother, was much more worthy 
of my attention !" 

"How did you get into Motion Pic- 
tures," I asked. "You have such a stage 
presence for one so young!" I confess I 
put the last with the hope that he would be 
led out to tell his age. 

"One so young !" and he laughed taunt- 
ingly. "Well, it's a long story. One day 
in Toronto, where I was born — well it's 
sixteen years ago. That is, sixteen years 
ago, since that day," he replied with a 
smile as he saw me raise my eyebrows in 
surprise. "I struck Lester Lonergan, then 
playing there, for a 'job.' He laughed and 
as a joke gave me a speaking part in the 
Valentine Stock company, in comedy. For 
all of $5 a week did I thus spend my 
genius! Next, 'The Dairy Farm' shed its 
actors so fast that I was the all-around 



actor, picking up their parts as they fled 
the company until I had a regular ninety- 
day cruise touching practically every part 
in the play. But it was great experience. 

"I then played one-night stands with Tim 
Murphy in 'The Bishop's Carriage.' My 
first New York engagement came with 
Henrietta Crosman and later Bertha Gal- 
land in 'Sweet Kitty Bellairs.' Then fol- 
lowed about a year in vaudeville and later 
with Mary Mannering in the original cast 
of 'Glorious Betty.' I was also fortunate 
in getting in the original company present- 
ing 'The Shepherd King' and then I flirted 
with musical comedy in Augustin Daly's 
Musical Company. Then came, in time, 
'The Blue Moon,' with James T. Powers, 
two seasons with Marie Cahill in 'Boys and 
Betty,' and with DeWolfe Hopper in 'The 
Matinee Idol.' My last stage appearance 
was with Ina Claire and Clifton Crawford 
in 'The Quaker Girl.'. Quite a record for 
a 'youngster,' isn't it?" he asked with taunt- 
ing modesty. And now the secret's out. 
Edward Earle must have the touchstone of 
youth, for no "youngster" could have all 
that experience and be the beardless youth 
that he appears in Edison pictures! And 
such a range ! — Melodrama, drama and a 
singer, too. It's too bad that we can't 
"hear" him in the pictures — this matinee 
idol of the fans. But I really don't think 
he likes that term, "matinee idol." He likes 
to be appreciated but he thinks the term 
hardly suggests the seriousness of parts he 
lias essayed — this confidentially, of course. 

"I first went with Famous Players," he 
continued, "and later to Pathe whence I 
came to Edison. The plays I have liked 
best are 'The Unopened Letter,' 'The Hand 
of Horror,' Vance Coleman in 'Olive's Op- 
portunities,' and 'In the Shadow of Death.' " 

A director strolled calmly our way and 
indicated that a scene in which Mr. Earle 
was to play, was ready for rehearsal. The 
star closed his book, laid his pipe carefully 
away behind the lounge, and with a smile 
and a bow was off to a corner of the studio 
where a battery of camera men, a crowd of 
people in evening clothes and the quarter 
section of a ball room indicated the taking 
of a scene. 

And then I went down the hill from 
the studio, and catching a Brooklyn Ex- 
press, was whirled away over the Bronx and 
under Washington Heights to the haunts 
of humdrum daily toil again. 



Mothers of the 
Movies : 



HOW often, in darkened theatres, 
have you followed the disappoint- 
ments, the heartaches, the joys and 
the tender ministrations of the pic- 
ture-mother ! 

They placard the heroine's name 
in big, big letters. The leading 
man is as prominently mentioned 
as the title of the picture, but 
"Mother's"' name, seen momentar- 
ily if at all, has scarcely lime to 
make any memory impression. 

Yet the American mothers of 
the movies have their devoted 
followings, thousands strong. 
who arc always glad to see them 
though they do not bandy their 
names- about familiarly. 




3S 



Some of Them Are Real Mothers 




Mrs. Wallace Erskine, the charming 
Edison Mother. 



Bess E. Wharton, of Pathe, has given a convincing 
touch to many of their realistic plays. 




39 



Most of Them Have Been Queens 




Gertrude Claire, New York Motion, made her stage 
debut in 1878, at the age of twenty. 



40 



Playing Arthur Johnson's mother is the sole and ex- 
clusive privilege of Clara Lambert, Labia. 



in the Spoken Drama of the Sta^e 




Fanny Midgeley, of New York Motion, has played 

many mother parts noted for their 

fine intensity. 



Mrs. William Bechtel, recently retired from Edison, 

has appeared in scores of well-known 

photo-dramas. 



41 




A Lady General 

of the Picture Army 

HER PERSONALITY; HER 
HISTORY; HER OPINIONS 

Lois Weber-Smalley, Virile Director 

By L. H. Johnson 



1MUST tell you of my first glimpse of 
Lois Weber, the handsome woman di- 
rector who works like a man, and who 
turns out photoplays of super -mascu- 
line virility and "punch." 

It was a vivid midday in California's 
early winter: that "winter" of scarlet and 
gold and green which is the great state's 
restful relief after its long summer of 
brown earth and steel-dry blue sky. 

I beheld a king and a queen in royal 
robes ; a great train of attendants : a gath- 
ering of white-f rocked monks; a hundred 
men-at-arms in bright armor of mighty 
halation ; a rabble of country folk in all 
sorts of queer disarray. They were not 
noisy. I think hardly one of them said 
anything ; it was just as though they were 
spirits in a sunshiny spot in Dante's Pur- 
gatory, condemned to eternal restlessness 
and gesticulation, on the fork-prongs of 
some invisible band of demons. 

If one looked long enough, one found 
the demon-ess. She stood on a tree-stump, 
in a silk shirtwaist and a smart skirt and 
chic tan boots ; her commands were few, 
incisive and very direct, and the populace, 
royal and bourgeoise, were not slaving half 
as hard as was her chief subject and vassal, 
a perspiring camera man. cranking as 
though Old Nick, instead of a pretty 
woman, were a yard behind him. 

She was producing "Hypocrites" the 
great Bosworth feature. 

In her home, however, she lays aside 
the sternness of the firing-line, drops her 
professional name, and becomes Mrs. Philip 
Smalley, wife of one of the best-known 
actor-directors in California. 

"We are not only married, but we always 
work together!" exclaimed Mrs. Smalley. 

■12 



She had met me on the deep veranda 
of her pearl-gray bungalow, in a room of 
soft old blues and delicate ivories. 

"This desk," explained Mrs. Smalley. 
her hand upon a plane surface of excep- 
tional mahogany, "is a gift from my hus- 
band." At the extreme edge of the desk 
were piled three books : an unabridged dic- 
tionary; a "Treasury of Words;" a Bible. 

"These are my chief assistants," she ex- 
plained. "You see" — lowering the com- 
manding voice with furtive cautiousness — 
"while I may sit at this desk, I never really 
work on it. I can't. I just get a pile of 
yellow paper, a stub pencil that continually 
flies to my mouth — and I write on my knee ! 
I have to. I've always written that way. 
If I should suffer an amputation at the 
hip I'd be done; I'd never have another 
inspiration as long as I lived! 

"I first became interested in pictures 
through writing — and selling ! — scenarios. 
My husband, who had a great deal of faith 
in me, left a splendid position on the 
dramatic stage to act in them. That was 
in the old Rex company. We worked very, 
very hard. My field began to enlarge. 
First I was asked for advice concerning 
other people's work, and so, quite natu- 
rally, I eventually became a director. 

"I like to direct, because I believe a 
woman, more or less intuitively, brings 
out many of the emotions that are rarely 
expressed on the screen. I may miss what 
some of the men get, but I will get other 
effects that they never thought of. 

"I think there is no particular theme or 
treatment in a good play which does not 
appeal with equal force to both sexes." 

Mr. and Mrs. Smalley have just 'left 
Bosworth, Inc., for Universal. 




"Across the saddle-horn, struggling and supplicating, lay Neva Hyde. " 

The Justice of Omar Khan 



A STORY OF A MAN WITH THE 
SOUL OF HAROUN-AL-RASCHID 



By Frank Williams 

(illustrations by the Selig Polyscope Company) 



OMAR KHAN, dark-skinned, in- 
scrutable, did not reply at once 
when Phillip Hyde finished speak- 
ing. The pain in the other's voice, 
the lines of suffering on his sensitive face 
stirred to the depths the Oriental's loyalty 
to their old friendship. 

"You say this man Harcourt makes love 
to your wife?" he asked finally in his 
studied, precise English. 



"Yes. He and Neva arc the talk of the 
town already, and as for me — " Hyde 
broke off abruptly and dropped his eyes to 
the Persian rug at his feet. His fever- 
racked face was ashen. 

"And she? What about her?" Khan's 
voice was gentle, menacing. 

"Oh. I don't know. I sometimes won- 
der — " Hyde's hands clenched. "I've tried 
not to notice things, but I'm afraid. Omar 
Khan. I'm afraid!" 

Beneath the red fez that accompanied 

4.; 



44 



Photoplay Magazine 



so strangely his European dress the 
Arabian's bearded face gave no sign 
except a strange flash of his splendid white 
teeth. 

"I thought when we first came here that 
it would be safest to let Neva indulge her 
whims — " The vice-consul was mulling 
over his problem for the hundredth time. 
"It's hard enough to condemn her to a hole 
like this as it is. Can I deny her what 
little amusement there is in the place?" 

There was a pause, and during it, the 
burning, hot breath of the dusty Egyptian 
streets came in through the casements and 
stirred the silken hangings. Came, too, the 
high, melancholy voices of donkey boys, 
the jingle and screech of peddlers and the 
snarling bubble of caravan camels padding 
towards the great desert to the south. 

"Miss Merrick doesn't seem to need that 
sort of amusement," Khan replied drily. 

Hyde's lips tightened again as he thought 
of Joan Merrick, his wife's dependent 
cousin, who had lived with them ever since 
their marriage. Sweet, steadfast little 
Joan, scarcely better than a servant in the 
house and yet the one ray of light, the one 
breath of sweet wholesomeness in his life. 
Ah. she was a pillar of strength in moments 
of need. And he had needed her often 
of late! 

The curtains at the doorway parted to 
admit two women. One. tall, dark and 
assertively handsome, was dressed fash- 
ionably for the evening 
and came first, an in- 
sincere smile on her 
painted lips. The 



His glance pierced 
Neva's sham like a 
Damascus blade." 




other, much younger — in her early twenties 
— followed behind carrying an evening 
cloak and bag. 

When she had acknowledged Khan's 
salutation Mrs. Hyde turned to her com- 
panion. 

"Joan, my fan!" And as the girl 
searched: "Have you forgotten it!" 

Eor a minute, panic struck the girl as 
the elder woman threatened her. Then 
from the bag she carried she drew the 
missing article. The other snatched it 
without a word. 

Ready to go at last Neva turned to her 
husband. 

"Poor old Phil, I'm so sorry you can't 
go tonight." she cooed. "But when consuls 
give balls I suppose vice-consuls must stay 
at home and work. Sit down in your chair, 
there's an old dear, and let me make you 
comfy." 

She settled him and then leaned over 
the back of the chair petting him and 
whispering endearments until a flush of 
quick pleasure mounted to his thin cheeks. 
But a little aside, watching the by-play 
with eyes that penetrated its insincerity, 
stood Omar Khan, his inscrutable face 
masking the play of his emotions. His 
glance pierced Neva's sham as the Damas- 
cus blade on the wall might have pierced 
her flesh. 

When she swept from the room 
Joan sighed with relief, for with that 
departure the world grew warm and 
iright for her. Her eyes rested for 
a moment on Hyde. Ah, if her 
hands could have but touched his 
face, her cheek have felt his 
mutely eloquent good-bye kiss ! 
Unseen the girl gently picked 
up from the table a photo- 
graph of Phillip and pressed 
it to her heart. 

But for a moment only. She 
laid the picture down and hur- 
ried upstairs to set to rights 
Neva's disordered dressing- 
room. 
In the midst of her work 
she came upon an unaddressed 
envelope and. uncertain what it 
contained, opened it and un- 
folded the sheet within. As she 
read her eyes widened with hor- 
ror. With the signature of 
David Harcourt at the bottom, 



The Justice of Omar Khan 



45 



it revealed and confirmed the sickening 
truth that the world had whispered for 
weeks. Phillip Hyde was dishonored. 

Joan stood a moment holding the letter, 
uncertain, irresolute. Should she put it 
hack where she found it? Should she show 
it to Phillip? No. not that! He should 
never learn from her of his wife's dis- 
loyalty ! 

What, then? A moment longer she 
stood, and then the idea came. She stole 
downstairs where the two men sat smoking 
their hookahs and drinking their coffee in 
the easy silence of perfect comradeship. 
She waited her chance and when Phillip 
left the room for a moment showed Omar 
Khan the note. 

With stern brows hut with a half sneer 
upon his lips he read it. 

"Oh, my friend," the girl cried, "can't 
you help him? if he found that Neva 
was disloyal lie would kill them both. This 
mustn't go on. He mustn't know ! You 
are his friend, can't you do something?" 

Omar Khan, his eyes veiled, smiled; hut 
made no other reply. Slipping the note 
into his pocket he made his adieu and 
left. 



II 



Far to the south across the golden desert 
that ached with heat beneath the brazen 
sky, Amir Pasha sat upon the 
cushions of his palace and smoked. 
And as he pulled his hookah he 
schemed. A new covetousness 
stirred within him that made as 
naught the beauty of his gold 
and inlaid palace, his herds of 
camels and his uncounted bales 
of silks, for he dreamed now of 
a white woman for his harem. 

He clapped his hands and 
when a giant Nubian appeared, 
called for paper and ink and 
ordered his swiftest messenger. 

Then he wrote Omar Khan 
and made his desire known — 
his desire for the loveliest 
white woman in all the East — 
and in the letter offered a 
thousand pounds in gold for 
the one who would suit his 
fancy. The missive sealed, he 
handed it to his messenger, 
who rushed from the palace 



to his horse and galloped swiftly into the 
desert. 

Ill 

The consul's ball was brilliant. Omar 
Khan in the bright-hued, flowing robes of 
his native land arrived late accompanied 
by Abdullah, his stalwart man-at-arms, and 
seemed, as he moved silently about among 
the noisy Europeans, the embodied spirit 
of the mysterious and unfathomed East. 

AVherever he went, whatever he did, he 
watched constantly the pair whom he had 
come to watch: Neva Hyde and David 
Harcourt. 

The man he did not like. Slender, dis- 
sipated-looking, with a drooping mustache 
and heavy gray hair. Harcourt seemed to 
have aged prematurely. There was about 
bis dress something a little too fashionable, 
about his person something a little too 
sleek. And when, late in the evening, Omar 
Khan saw him lead Neva into the con- 
servatory, he followed with Abdullah. 

Silently he took up his place behind 
them at a partition and listened. And 
as he heard their murmured words of 
passion, and saw Harcourt take Neva in 
his arms, his eyes gleamed like diamonds 
and his hands clenched at his sides. 

It was true then ! The 
friend whom he had 
jrown to love almost 
a brother was 

"Can't you do some- 
thing. Omar Khan?" 
" What Allah puts 
into our hearts to do, 
that we will do," an- 
swered the Arabian. 




46 



Photoplay Magazine 



betrayed. The emotions behind that dusky 
mask seethed for there was no clearer call 
to Omar Khan's loyalty than that of 
Phillip Hyde's need. The look that sped 
from his eyes to the pair before him threat- 
ened danger. 

Meanwhile, at home, Phillip sat awaiting 
Neva's return. Beside him on a low stool 
crouched Joan watching his loved face 
anxiously. It was three o'clock, and the 
only sound in the city was the howl of the 
pariah dogs in the streets. 

"Why doesn't she- come?" he said. "I 
don't understand it. She should have been 
home two hours ago." 

"Please don't worry," begged the girl. 
"P erhaps the 
supper was late 
or Neva didn't 
want to be the 
first to leave — or 
something. What 
could possibly 
have happened?" 

Phillip reached 
out and took her 
hand. 

"Dear Joan !" 
he said, grate- 
fully. "I some- 
times wonder 
what I would do 
w i t h o u t you. 
You're the best 

friend a man 

ever had." 

"Oh. Phil—" she laughed unsteadily, 
and put his earnestness by. But within 
her her heart sang, and tears of happiness 
clouded her eyes. 

So. as the long hours passed they kept 
each other company. Then, just as the 
first glimmer of dawn showed through the 
curtains Neva came home. Her eyes were 
unnaturally bright and her cheeks flushed. 
She walked unsteadily. 

"Neva !" cried Phillip, springing up. 
"Where have you been? You have fright- 
ened me terribly!" 

His wife stood in the center of the floor 
swaying a little and laughed harshly. 

"Frightened you, eh?" She laughed 
harshly, advanced a step and struck her 
cousin across the face. "And what are you 
doing here ? Frightened, too, I suppose ! 
Come upstairs and help me undress." 

And as she went Phillip felt as if she 



had struck him, not in the face, but to the 
heart. 



IV 



A week later, as Omar Khan left his 
house to visit Hyde, he read over again a 
letter that he had received the day before 
by messenger. It was from his friend, 
Amir Pasha, and offered a thousand pounds 
in gold for a white woman to grace his 
harem. Khan shrugged his shoulders and 
put the letter away, but his brows drew 
down moodily as he walked. • ' 

Hyde was not at home, but Joan met 
him at the door, pale and tragic, and 
begged him to come in. Then, when the 
grating had closed behind him, she drew 
from her dress a letter 
and gave it to him. It 
addressed to 
in Neva's 



Two other Arabs 

were behind a 

wall. " 




hand and was cruel in its brevity. 

"I am leaving you forever," it read. 
"You have amused me long enough. Do 
not trv to follow me for I shall not come 
back."' 

"She left it for Phillip this morning," 
explained the girl, "but I found it before 
he did. Oh, this will mean the end for 
him ! Can't you do something, Omar 
Khan? You must do something!" 

"What Allah puts in our hearts to do, 
that will we do," answered the Arabian, 
gravely. "Leave the note where Hyde 
Effendi will find it. It is better that she 
go. She is not worthy of him." 



V 



Across the edge of the desert where 
pariah dogs slink about filthy dwellings 
searching for offal, a European carriage 



The Justice of Omar Khan 



47 



plowed through the sand. The tough little 
ponies plunged at an awkward gallop while 
the driver lashed them savagely. 

Suddenly the man uttered a cry and 
pointed with his whip hack along their 
trail. One of the passengers, a mart with 
a drooping mustache and heavy gray hair, 
turned and looked. Sweeping down upon 
them came a group of native horsemen, 
their long rifles gleaming in the sun. their 
burnouses flowing out behind them in the 
wind. 



"Into the desert!" cried Khan, and the 
cavalcade moved forward. 

But at home, in the vice-consul's house, 
a gray-faced man sat holding a crumpled 
paper and looking upon the ruins of his 
life. Nearby, her eyes tender and pitying. 
Joan sought to comfort him with the un- 
spoken love that surged in her heart. 

"Oh, that she could have done this !" 
cried Phillip, brokenlv. "Oh, Neva ! 
Neva!" 



'Phii: 



The girl crept close. "It had 




' ' Omar Khan ! ' cried the woman, terror-stricken. " 



"Oil !" cried the man in the carriage. "A 
thousand pounds if we get away !" 

Put the sorry ponies were no match for 
the desert horses. Two other Arabs 
leaped out from behind a wall before them. 
and in a moment the carriage was sur- 
rounded and brought to a halt. Then the 
foremost rider, a splendid figure of a man. 
pushed back his burnouse and looked Neva 
and Harcourt full in the face. 

"Omah Khan!" cried the woman, terror- 
stricken, and shrank back against the 
cushions. Then Khan spoke an order, and 
the next moment the two were out of the 
carriage and in the hands of their pur- 
suers. 



to come. Couldn't you see it? Couldn't 
you see that she was bound to go her way, 
and that that way could never have been 
yours? It hurts now, Phil, but some day 
you will be glad. Far better to let her go 
if she would than to keep her here un- 
willingly." 

Then as he had done once before in an 
hour of trial, he reached out and took her 
hand, but now his agonized pressure almost 
made her cry out. 

"I'll cling to you, Joan," he said. 
"You've never failed me yet. I'll cling to 
you and perhaps after a while I'll see 
things clearer and truer than I've ever seen 
them." 



4S 



Photoplay Magazine 




'Grovelling and whining in his anguish, a white man prone on the sand, 
raised his hand in supplication." 



VI 



On every side, sand : shifting yellow 
hills of it. burning to the touch, shimmer- 
ing with heat : a skyline of bluish brass cut 
by flat elevations and blurred by tiny sand- 
spouts that chased each other here and 
there with the vagaries of a nightmare. 

A man grovelling, whining in his anguish, 
a white man prone on the sand, clasped his 
hands in supplication to a tall Arab whose 
eyes glittered like diamonds. About them 
stood fierce, silent Nubians. 

''Oh G63! Omar Khan, don't leave me 
here to die I I'll go back. I'll give you all 
I've got. I'll do anything, only don't leave 
me here to die !" 

"Forward I" 

Khan leaped to his horse and the caval- 
cade swept on leaving the motionless figure 
dark against the tawny sand behind. First 
rode Khan and Abdullah on coursers white 
as milk, and behind them the stoical 
Nubians on coal-black horses. 



Built of fire and steel was Abdullah's 
animal, and well he needed his strength 
for across the saddle horn, struggling and 
supplicating, lay Neva Hyde, her traveling 
cloak and dress torn, her hat gone, and her 
arrogance turned to abject terror. 

For hours and days the journey con- 
tinued. Then the half-crazed woman had. 
a vision of a strange. Oriental palace, 
experienced the grateful sense of shadow 
after blinding sun, and heard the voice of 
( hnar saying : 

"And this. Amir Pasha, is the present I 
have brought thee — a white woman for thy 
harem. Keep her well for the fire of sin 
runs in her veins." 

Months went by and Phillip, as he had 
said, clung to Joan Merrick. And in the 
clinging he found a love so much deeper 
and truer than any he had ever known, that 
the bitter past was forever forgotten in a 
new and enduring happiness. 

And thus was fulfilled the justice of 
Omar Khan. 



I 



mpressions 



By Julian Johnson 




FRANCIS X. BUSHMAN : 
an ancient Greek a la Hart. 
Schaffher & Marx; your 
wife's first husband; im- 
aginary Faust to two mil- 
lion Marguerites; a candi- 
date's picture of himself. 




MARY PICKFORD: the 
first child in the world; 
dawn, over a daisy-filled 
meadow; the spirit of 
Spring imprisoned in a 
woman's body. 




MABEL NORMAND: a 
kiss that explodes in a 
laugh; cherry bon-bons in 
a down's cap; sharing a 
cream-puir with your best 
girl; a slap from a per- 
fumed hand; the sugar on 
the Keystone grapefruit. 




CHARLES CHAPLIN: an 
orgy in a pantry; a thin 
shoe salesman in Roseoe 
Arbuckle's pants; a lunch 
counter in an earthquake; 
park adjoining an asylum: 
both Dromios in B. V. D.'s. 




HELEN HOLMES: 
Diana, in a Duff-Gordon 
frock; Venus, corset- 
broken; why all boys 
want to be railroad men. 




EARLE WILLIAMS: a 
Robert Chambers hero 
escaped from the Cosmo- 
politan; playwright's ideal 
business man; an electric 
treatment for sleepy 
debutantes. 




ROSCOE ARBUCKLE: 
Mr. Mellen's dream about 
his baby food; Falstaff in 
a ladies' waiting-room; a 
satyr in a soft shirt. 




ANITA STEWART: Marie 
Antoinette in a trolley car; 
Bernhardt, born in St. 
Louis and working as a 
stenographer; Juliet living 
in Brooklyn. 




FRED MACE: a drum- 
mer selling Bibles and 
playing cards; a jolly 
Friar in Calvinistic garb, 
living on Times Square. 




BEATRIX MICHELENA: 
a senorita from Manhat- 
tan; wine grapes grown 
in a cornfield; a Castilian 
romance with a Michigan 
avenue setting. 



49 



Photoplay Magazine 










TOM INCE: a sixteen- 
inch gun embossed with 
gold filigree; a firing squad 
captained by a beautiful 
woman; a tornado with 
colored cloud effects; a 
volcano with attracth e 
fireworks. 



JULIA SWAYNE GOR- 
DON: the last glass of 
champagne; being struck 
by lightning on Broadway; 
Lucretia Borgia in Osn- 
kosh. 



MARY CHARLESON: a 
chocolate sundae with a 
dash of absinthe; a child 
in a poppy field at dusk; 
the first kiss. 



FORD STERLING: a 
panic in a kraut foundry; 
confessions of a delicates- 
sen merchant; love among 
the pickle barrels; cubist 
impressions of the birth 
of a Swiss cheese. 



"AMBROSE" SWAIN: 
an erring police sergeant 
imprisoned in a ladies' 
tailoring establishment; a 
cabbage exuding an odor 
of violet; Goliath made 
nutty by little David's pea- 
shooter. 



DAVID W. GRIFFITH: 
a battle-picture painted 
with living paint; a visual 
Victor Hugo; Field Mar- 
shal riding a camera; a 
poet dashing his imagina- 
tion out against a white 
wall. 








FLORENCE LABADIE: 

an angry woman's kiss; 
the fascination of imper- 
tinence; the aggravation of 
a refusal. 



EDWARD EARLE: every 
baseball hero is just as 
handsome — in his own 
opinion; a saint taking a 
day ofi"; why girls get mar- 
ried. 



CLARA KIMBALL 
YOUNG : a Russian prin- 
cess impersonating an act- 
ress; an actress imperson- 
ating a Russian princess; 
a marble statue just kissed 
to life. 



KATHLYN WILLIAMS : 
the Girl of the Golden 
West; the best definition 
of •'woman" we know; 
feminine and a pal fifty- 
fifty. 



BLANCHE SWEET: 
Cleopatra with yellow hair 
and a sense of humor; a 
child you adore most when 
it pouts; a slender flame 
in a night of gentle wind. 



LILIE LESLIE: the sleek 
coat of a perfect tiger; 
pretty pink poison in a 
cut-glass decanter. 




'I'm sure the Chief didn't mean anything. He'll explain that there's been a mistake. 

Scotty Weed 



THE STORY OF A MAN WHO 
CAME BACK FOR GOOD 

By George Wolfe 

Illustrations from the Kalem Film 



J FRANCIS NORTH read his even- 
ing paper with some annoyance, 
f There -was a particular article that 
produced that state. He returned to 
it again and again, unable to interest himself 
in the market reports, or even in the gossip 
of the sporting page. He had reason to be 
annoyed, as a matter of fact. The article 
that interested him so keenly was an inter- 
view with the Chief of Police of the city in 
which Mr. North lived ; a city, moreover, 
which rather liked to honor him, socially 
speaking. And the Chief, in this interview, 
had intimated that J. Francis North and 
one "Scotty" 'Weed were one and the same 
man. 



There had been, of late, a very curious 
series of robberies in the city. The victims 
in each case had been individuals or firms 
of considerable prominence. Almost in- 
variably, too, jewels had been the only loot 
of this mysterious thief. But this, in itself, 
was not so curious. The inexplicable thing, 
the utterly baffling feature of all these rob- 
beries, was that, after a certain interval, 
restitution had been made. The thief's 
method had been the same on each occasion. 
The jewels would be stolen. Then, after 
an interval that varied with each case, their 
owner would receive a large envelope,, con- 
taining the pawntickets for the property, 
and the precise sum for which they had been 

51 



52 



Photoplay Magazine 



pledged I The thief did not add the inter- 
est ; he left the owner to pay that. 

In a way, the whole mysterious series of 
robberies was a joke. At first there had been 
a "suspicion that some sort of substitution 
had been made. But each time that was 
proven not to be so. And so the mystery 
had deepened. But there were aspects of 
the robberies that were not funny. For 
example, a nervous woman, with a tendency 
toward hysteria, might know, when her 
jewels were taken, that those of half a 
dozen of her friends had been taken before, 
and had been returned— by means of pawn 
tickets. But the knowledge did not soothe 
her. She was likely to insist that this time 
the property would not be returned. 

And it was not only nervous women who 
refused to see anything humorous in these 
robberies. To Chief Cargan. of the police. 
they were anything but funny. The Chief 
wasn't imaginative, lie was as far from 
solving the mystery as anyone. But he could 
see what the result would be: he would look 
like a fool. And he did. He was de- 
nounced : he was laughed at. And. rather 
cleverly, he evolved "Scotty" Weed. 

"Scottv" Weed; he explained to the news- 
paper men. was a man who had been 
notorious years before as a burglar. He 
had operated in distant parts of the country, 
but his technique had become famous in the 
thief -catching profession, and the jobs of 
this mysterious burglar were stamped all 
over with the method of "Scotty." Perhaps, 
at some time, there had been a real "Scotty" 
Weed ; perhaps he still existed. Indeed, the 
Courier, which was against the administra- 
tion, and eager, as a result, to discredit its 
Chief of Police, found that "Scotty" was 
remembered in Chicago. But he had not 
been heard of for years. 

At all events the city and its papers took 
up "Scotty" with enthusiasm. He was 
blamed for all the mysterious jewel rob- 
beries. " 'Scotty' Weed makes another 
haul" became almost a standing headline 
in the papers. And Chief Gargan grew 
more and more vitriolic, and more and more 
determined to catch him. 

It seemed that he was going pretty far. 
however, when he hinted that J. Francis 
North was really "Scotty" Weed." For Mr. 
North was distinctly not the sort of man one 
suspects of burglary in any degree. The 
Chief was careful. It was only a hint he 
dropped. But it was enough to account for 




"A man hid a coat in the garden five 
minutes ago." 

Mr. North's annoyance ; enough, also, to 
account for his almost instant decision to go 
to police headquarters. 

He presented his card to an amazed desk 
sergeant, drowsing near the Chief's office. 
Three minutes later he was in the Chief's 
room. He found there a young woman 
whose looks won his immediate approval. 

She glanced at him for a moment, then 
turned away. And Mr. North, of course, 
had no excuse for staring at her. So he 
looked sternly at the Chief and produced 
the newspaper clipping that had so seriously 
annoyed him. 

"Am I to understand, sir." he said, with 
dignity, "that you authorized the publica- 
tion of this interview?" 



Scotty Weed 



53 



Gargan was a little overwhelmed. 



He 



had persuaded himself to helieve that this 
man was a crook. He believed, moreover, 
that the return of the stolen property in the 
series of farcical burglaries was simply part 
of a deep plan. It was his idea that ulti- 
mately there would be a great haul that 
would not be followed by the return of the 
loot. And it wasn't in order for a man who 
knew he was suspected of complicity in 
crime to come boldly to the police. The 
thing was outside of Gargan's experience, 
and he didn't know what to say. He was a 
routine man ; he liked to handle things in a 
routine way. So he just stared at the rather 
magnificent Mr. North. 

"I think I can explain," said the girl, 
suddenly, breaking into the awkward pause 
with a clear laugh. ''If vou will introduce 
me. Chief?" 

"Uh — er — yes — of course — Mr. North- 
Miss Stedman. who helps this department 
in certain matters — " 

"They're very nice to me. Mr. North." 
she explained. "They say that there are 
cases where a woman's intuition is helpful. 
And then, sometimes, there are things a 



woman really can do better than a man. 
But, about that interview. The Chief was 
really awfully angry. They're very unfair 
to him. And he thought you did look like 
the photographs we have of this man Weed. 
You see, we had to work by a process of 
elimination. You were present, nearly al- 
ways, when the jewels were taken." 

"But so were plenty of other people — " 

"Of course! But you happened to have 
a sort of resemblance to a man whose picture 
was in the Rogues' Gallery — and none of 
the others did. So — " 

"But that really isn't a sufficient reason 
for pillorying me in the press !" 

"Of course not!" She smiled at him so 
swiftly that he did not notice she shook her 
head at the Chief, who seemed about to say 
something himself. "I'm sure the Chief 
didn't mean anything. He will explain 
that there has been a mistake. Won't vou, 
Chief?" 

Gargan looked apoplectic for a moment. 
But he couldn't meet the girl's steady gaze. 
And in a moment he nodded, sullenly. 

"All right," he said. "I guess there was 
a mistake, Mr. North !" 




"Get back!" he cried. "I'll fire into you next time!" 



54 



Photoplay Magazine 



"Please see that it doesn't occur again," 
said North, stiffly. Then, in his pleasantest 
fashion, he turned to the girl. "I'm so glad 
to have met you, Miss Stedman! If you 
are going out you will let me give you a lift, 
perhaps?" 

"I'm sorry." She shook her head regret- 
fully. "I have some work to do." 

North had to go, though, plainly, he 
didn't want to. As soon as he had. disap- 
peared the Chief turned on the girl. 

"For heaven's sake!" he said. "You 
made me look like a fool ! Why didn't you 
let me handle him?" 

"Because — you didn't have a thing on 
him, Chief ! I agree with you — he's the 
man. But you want to catch him in the act, 
don't you? We've got no evidence now. It 
would ruin everything to put ourselves in 
wrong at the start. Let's see — what's the 
next big function? Oh, I know — Mrs. 
Winslow's masquerade ball ! That will give 
him a splendid chance! I shall have to 
go." 

"We've been asked to send detectives. 
Shall I assign you?" 

"No. I'm invited. Send three or four 
men — in costume. But I shall go as a 
guest, with Mr. Chalmers." 

"Chalmers? That joke !" said the Chief. 
"He thinks he can look after you, doesn't 
he? Isn't that why he got appointed to 
the force?" 

"He's useful — though he is stupid," said 
the girl. "In fact — that's one reason he's 
useful. Now — leave this to me. You shall 
see what you shall see !" 

And with that the Chief had to be con- 
tent. Against his will he withdrew his insin- 
uations against J. Francis North. He trusted 
Mary Stedman. He hadn't liked the idea 
of working with her at first. But he had to, 
because she and the mayor's wife were very 
intimate friends. And one or two experi- 
ences had made the chief see that this girl 
had the real detective instinct ; that she 
could do things which none of his men 
could rival. 

She saw North once or twice before Mrs. 
Winslow's ball. She managed that herself 
by going to affairs where he was likely to 
be. She was very nice to him. From the 
first, he fell under her sway. 

On the night of Mrs. Winslow's ball, 
Mary reached the house rather late. She 
was in costume, her escort, young Hugh 
Chalmers, the most persistent of her many 



younger swains. So determined was he. 
indeed, that he had used his family's influ- 
ence to get an appointment to the police 
force, that he might be near Mary. 

"You're to do just as I tell you to-night, 
Hugh," said Mary. "There may be nothing 
— there may be a good deal. First, we're 
going to Mrs. Winslow and unmask — be- 
cause, if what I suspect is right, it will be 
necessary for her to know us, later." 

So they went to their hostess, and Mary 
explained their mission. 

"I don't know that the Raffles person will 
be here," she said. "But Hugh and I are 
going to keep our eyes open. Of course, 
the regular detectives are here, too." 

"Oh, yes, of course," said Mrs. Winslow. 
"I wouldn't think of not being protected ! 
But it's sweet of you to help, dear." 

"Ugh !" said Mary, spitefully, as they 
went away. "Just for that I hope she loses 
that tiara of hers and doesn't get it back !" 

Mary began looking for J. Francis North 
at once. She had an idea that no disguise 
he could assume would deceive her. But, 
though she searched the crowded ball room 
for him, she did not discover him. Curi- 
ously enough, she didn't want to, either. 
She had seen him several times, and — she 
liked him. It seemed to her that he was 
not the sort of man to be a thief. She 
had no illusions about criminals. She 
knew that they were small and mean, and 
weak — and she despised weakness as she 
admired strength. She knew, too, that, as 
a rule, a man turns criminal not because of 
force of circumstances ; but because it seems 
to him the easiest way. 

So, as the night wore on, and there was 
still no sign of North, she felt relieved. 
She danced a good deal ; she did not want 
to be suspected. And then, suddenly, in 
the midst of a dance, she stiffened. She 
had seen, suddenly, a familiar figure. It 
was North ! She was sure of it, though his 
disguise — that of a mediaeval clown — was 
excellent. Two minutes later one of the 
detectives managed to speak to her. 

"A man hid a coat in the garden five 
minutes ago, miss," he said. "What shall 
we do?" 

"Leave it there," said Mary, quickly. 

He looked surprised. But he nodded. 
And a few moments later Mary, who was 
dancing with Hugh, made an excuse to go 
out in the garden. She wanted to study 
the lay of the land. The place was beauti- 



Scotty Weed 



55 



ful : it was modeled on the Japanese plan, 
with tiny lakes and carved stone bridges, 
and, in the moonlight, was fascinating : but 
she was not there to admire it. She saw 
all she wanted in a few* moments, and re- 
turned to the ball room. And in two 
minutes she saw what she had feared. Mrs. 
YVinslow's tiara was gone ' She had not 
missed it before ; but almost at the moment 
of Mary's entrance, she did. In a moment 
the scene was one of wild confusion. The 



He snarled that at her. "And do you think 
I'll give it up— !" 

She backed away. 

"Carson!" she called, in a high, sweet 
voice, naming one of the regular detectives. 
He started toward her, tearing off his 
domino. A bullet sang over his head. The 
thief had shown himself. Mask torn off, so 
that Mary could see he did not really look 
like North at all, revolver, still smoking, he 
threatened the crowd. 




"The search proceeded through the apartment. 



tiara was a famous one ; it had been photo- 
graphed for a dozen Sunday supplements. 
It was literally invaluable. 

Mary didn't hesitate. Her eyes sought 
those of the man she was so sure was North. 
He happened to be looking at her. She 
went to him at once. 

"The game's up, 'Scotty."" she said, be- 
neath her breath. "Give up that tiara." 

"Damn I" He said it low, but she heard. 
It was a hoarse, harsh voice, not the voice 
of North : "How did you get on — " 

"I knew it all the time, Mr. North," she 
said. "Don't fight — " 

"North? What d've mean— North?" 



"Get back !" he cried. "I'll fire into you 
next time !" 

He was backing through a door as he 
spoke, and suddenly turned and disap- 
peared. 

In the uproar Mary gathered Hugh and 
two of the detectives. Her mouth was set 
in a grim line. 

"Come with me at once," she said. She 
had given him a chance — and he had done 
this ! Now she would have no mercy. She 
led the way to her car ; ten minutes later the 
little party was in the vestibule of the 
bachelor apartment house where North 
lived. 



56 



Photoplay Magazine 



"Mr. North — at once!" said Chalmers, 
showing his shield. 

The telephone operator was surprised. 

"He's sick — he gave very positive orders 
that he was not to be disturbed !" 

"When?" Mary broke in. 

"At ten o'clock, miss." 

"But — he's been out ! He can't have been 
home five minutes !" 

"Out? No, miss! He hasn't been out 
to-night ! John !" 

He called the elevator boy, who con- 
firmed the telephone operator. 

"And I've been here all night, miss," 
said the operator. 

Mary was puzzled. But she insisted 
that they go upstairs. There was a delay 
at North's door. He appeared finally, in a 
bathrobe, sleepy and indignant. 

"Oh — Miss Stedman!" he said, gasping 
as he saw her. "This is a surprise — and a 
welcome one ! I have been feeling wretched 
— but this is a pleasure ! I had hoped to see 
you at Mrs. Window's ball — but I was too 
ill to go — " 

"That won't do — this time !" said Mary, 
grimly. "Search these rooms !" 

North protested furiously; hut neither 
Mary nor the detective she took with her 
paid any attention to him. The search pro- 
ceeded throughout the apartment, till, led 
by Mary, the men entered a dark room just 
off North's bedroom. Mary pressed the 
wall-switch near the door. The lights 
remained unlighted, although there was a 
large electrolier hanging from the center 
of the ceiling. 

Mary looked back at North who stood 
under the lights in the room she had just 
quitted. Into North's eyes came a peculiar 
look. Strangely enough, it seemed to be 
one of surrender. The electrolier was one 
of the inverted type, in which the electric 
bulbs rest as in a bowl, reflecting their light 
from the ceiling above into the room below. 

She told the detective with her to step 
outside into the hall and wait. She wished 
to speak to Mr. North alone. When he had 
left them alone she turned to North. 

"It was a mistake to turn out the lights. 
If they had been on, I would never have 
suspected." 

"You are very clever." he said quietly ; 
"but how about my alibi?" 

She looked at him a moment in silence. 
Could her instinctive knowledge of the 
criminal be wrong? The man who stood 



before her was certainly not a weakling. 
Moreover, he was as clever as she. The 
difficulty he had raised was unsurmount- 
able. 

Even as she thought that, his voice, with 
the leisurely tone of one unaccustomed to 
half-measures, answered the puzzle. He was 
looking away from her as he spoke. 

"My alibi was a simple matter. I had 
timed the special delivery service in the city. 
I sent myself a special delivery letter. You 
will notice that there are two elevators in 
the building. I took the messenger to the 
elevator, when he left me. talking to him 
about the letter as though it contained 
some important news and I were a nervous 
fool. I noticed the elevator he went down 
in. I took the other one. a half an hour 
later. A special delivery messenger is such 
a common sight for an elevator boy that he- 
does not notice his comings or goings. I 
returned the same way. My little study in 
psychology was apparently quite a success. 
My costume, I left somewhere else. It was 
not difficult." He laughed. "In fact, it 
was childishly easy." 

His eyes suddenly met hers. To her con- 
fusion, she found that she could not meet 
them. 

"You are a clever man, Mr. North," she 
said. 

"Yes ; but the game's up ! I would have 
returned the tiara anyhow, however, as 
usual. You see — I was 'Scotty' Weed. The 
police framed up a deal on me, years ago. 
and sent me up for five years ; and it was a 
crooked frameup. I wasn't guilty. They 
pursued me after I left prison, in Chicago : 
but I went away to another city, and made 
good — made good in legitimate business. 
This Chief is the man who framed the deal 
on me. I have simply been amusing myself 
by making a fool of him, in aoing which I 
have made a fool of myself ; but no one has 
suffered, or will suffer for my foolishness, 
except myself." 

"Give me the tiara," she said. T knew 
that he had been the man who f r. med the 
deal, as you say. on 'Scotty.' That's the 
reason why I felt sure that you were the 
man." 

He got the tiara and handed it to her. 

"This will be found in Mrs. Winslow's 
room," she concluded abruptly. 

The tiara disappeared under her coat. 

"What do you mean?" he asked. 

She looked him full in the eyes ; but only 



The Littlest Favorite 



57 



for a moment; Then her eyes dropped 
slowly before his. 

"Mary I" he said, "what do you mean?" 
"I don't know," she answered. Her 
voice was as soft as a rose petal. Suddenly 
she added. " — Yes. I do know ! You are too 
fine a man to be caught in a mess like this, 
that's all!" 

She said it defiantly, her face flaming. 



"Mary!" he repeated, smiling gently, and 
held out his arms to her. 

Her eyes lighted suddenly, and shone into 
his so that he caught his breath with the 
sudden wonder of it. 

"Tomorrow !" she whispered. "Come to 
me tomorrow !" And was gone. 

And that was the end — the real end — of 
"Scottv" Weed. 



Frank Daniels in Flatbush 

17 RANK DANIELS, for years one of 
■* the premier laughter-masters of the 
stage, has forsworn the lure of the con- 
fining stage and come out as a movie lead- 
ing man of late. He is a member of the 
Yitagraph forces in Flatbush now, and 
leading sun-spot in "My Uncle Bob," a 
coming release. 



Virginia With the Vitagraph 

WIRGINIA PEARSON, she of the 
v beautiful eyes and luresome manner, 
said to be the least villainous of all stage 
villainesses, and famous throughout the 
country as the Yampire in "A Fool There 
"Was," is with the Yitagraph Company of 
America. She will appear in a number 
of releases this summer. 



// 




The Littlest Favorite 

MADGE EYANS is perhaps the most pho- 
tographed child in the world today. 
Though not quite six years of age, she 
has appeared in scores of photoplays, and is 
enthusiastically continuing her acting in the 
movies and her primary studies at the same 
time. 

This honor of being the most photographed 

youngster is of course a matter of renown which 

rests on a sliding pedestal. Other children have 

had it in the past ; perhaps others will surpass 

little Miss Evans' achievements tomorrow — just 

as today's biggest battleship may be outclassed 

by the very next construction. At the same 

time, if anyone does surpass Miss Madge, he 

or she will have occupied a good many square yards 

of negative. 



% 



Madge Evans as the little sister in 
'Alias Jimmy Valentine" 



"~«s»,". 



Lo, the Poor Property Man ! 

By John Ten Eyck 



IN days of old, when the merry cowboys 
scoured the plains with well oiled six- 
shooters, the world's name for an un- 
fortunate person harried from pillar to 
post was Lo, the poor Indian. 

Today, who bears the burden of the on- 
sweep of civilization via the movie camera ? 
— Lo, the poor Property Man. 

Does Lottie, the ingenue, find a hole in 
the toe of the baby blue tights wherewith 
she is to play the heroic music-hall girl who 
gives up her beloved for the sake of his 
dear old mother? Lo gets the blame. 

Is it found that the elaborate tin foun- 
tain used for a Newport ball-room has 
sprung a leak somewhere in its soldered 
seams so that the water stains the hostess' 
shoes in the middle of a six-reel thriller? 
Upon Lo descends the wrath of the di- 
rector, the leading lady, the hero, yea, even 
of the supers. 

Has a Louis Quinze chair wandered into 
a Louis Quatorze room? Lo flees to the 
property-room, reviled by the lips of many. 

Does it happen that the hero of ten mil- 
lion fans gets a puncture in his invaluable 
tummy because a property sword has not 
been carefully dulled? Prostrate beneath 
the ire of the Cods of the Film lies Lo. 

Kitty Calhoun, the beautiful shop girl, 
retires to her third floor back room in a 
property lx>arding house. Sitting on 
her bed. her head in her hands, she dreams 
of the handsome young farmer she scorned 
and left 'way back in her home town, and 
the burning tears trickle through her lovely 
fingers. 

Suddenly the director has hysterics and 
is carried to the nearest hospital for treat- 
ment. The camera man turns pale, then 
green, then faints dead away and is brought 
to only by the aid of the prettiest super in 
the studio with half a pint of raw Scotch 
and the studio rocks with impending terrors. 

Into that miserable back room Lo has 
artfully insinuated Sheraton furniture of 
the purest mahogany. 

And after all is over, all there is of Lo 
is a lonely daisy that sways in the winds 
of passing summer days above the green 
mound beneath which he lies, his problems 
and his troubles forever past. 

58 



In the movies, Lo moves scenery. He is 
not the tinsel figure he was in the "legit." 

Great minds have gone insane trying to 
think of machines to take Lo's place, but it 
has proven impossible. He must be. Even 
though his sets of palaces look like the 
back room of an Eleventh Avenue saloon, 
still must he be. Even though when sent 
forth to procure a statue of the Venus of 
Mild he returns with a photograph of 
Charles B. Duke, the tobacco king, he 
mast remain an institution. He is the terror 
and slave of every studio, and like Ivan the 
Terrible, reigning through fear, is a tyrant 
in his humilitv. 




"In the movies, Lo moves scenery. He is not the 
tinsel figure he was in the 'legit'." 



How I Keep My Strength 

By Francis X. Bushman 

EDITOR'S NOTE: The leading actor of the Essanay Film Company is probably 
the most perfect physical specimen among the many notable athletes of the studios. 
His is not merely the perfection of appearance, but a reality of hard practice. He is 
a champion wrestler, a distance runner, a good shot, a fine rider, and a terribly 
dangerous antagonist in physical encounter — although, like most masters of men, 
Mr. Bushman is noted for Ins gentility and good nature. 



A GREAT many people have asked 
me if I keep up my athletic work 
because I am "proud of my shape," 
or because it is a fad with me. To 
answer either question in the affirmative 
would be absurd. I have no pride of ap- 
pearance other than that look which im- 
plies a normal and healthy human being. 
and a physique which serves ; and while I 
have fads and hobbies, keeping in physical 
trim is not one of them. It is just as much 
a part of my life as eating and sleeping. 

In many ways, the ancient 
Greeks are my ideal of a peo- 
ple. 

Greek beauty, philosophy, 
architecture, bodily strength 
and learning have stood the 
test of centuries, and we, today, 
are not their equals in the arts 
or even in government. Yet the 
greatest thing they gave to man- 
kind was the art of living. 

Their theory can be summed 
up in an old proverb. I 
don't know who was 
the author of it. I 
wouldn't pretend 
to say : "The 
body is the urn 
in which the 
spirit burns ; a 
spark of di- 
vine and eter- 
nal fire." 

That is it : 
the urn of the 
soul and the 
mind. I worked on 
that theory. I know 
it is tenable. It has 
brought me results. 
Keep the body up to 
standard, and the mind 




is at its best. Let the body grow overfat. 
or sluggish in its functions, and the mental 
processes get slower. 

I learned this years ago. I was given 
a good body to begin with, but I realized 
that with the passing of the first flush of 
youth the body would broaden, the muscles 
grow soft, and limbs and trunk would set- 
tle into the maturity of late adolescence. 
I prepared against this. I worked hard, 
all the time. I kept right at it, exercised 
not strenuously, but regularly and scien- 
tifically, and still do it, and expect 
to do it as long as I live. My mind 
is clear. I grasp every one of my 
play characters the better for 
this exercise. It is, you see, the 
application of the old Greek 
idea. The soul is contained in 
the body. Keep the urn bright 
and clean and the divine fire of 
the mind and soul glows more 

jiy. 

I want to call the reader's at- 
tention to the fact which every 
athlete knows : that over- 
. . exercise is worse 
than no exer- 



'Tlte soul is contained in the urn of the body. 

Keep the urn bright and clean and the divine 

fire of the spirit bunts more strongly. " 



cise ; that sud- 
den hard exer- 
cise is posi- 
tively danger- 
ous, and that 
irregular ex- 
ercise is 
worthless. 

You have 
probably not 
escaped the 
lazy man's wise saw : 
he athlete dies 
young, with worn-out 
organs or an enlarged 
heart." And that 

59 



60 



Photoplay Magazine 




"With scarcely any effort on my part, I could in five 

minutes break the neck or the back of the strongest man 

in the world— provided he was not a wrestler." 



other favorite : "Your athlete is never the 
real strong man, he's too muscle-bound." 
All of which is quite true when used in ref- 
erence to improper athletes, or in a word, 
to those sporadic, intemperate, unscientific 
strainers and feverish exercisers who are 
not true exercising athletes at all. 

The needs of an individual in exercise 
are as individual as his needs in clothes, 
food and amusement. Doubtless there are 
men to whom my regular regime would be 
exactly fitted. But were I to recommend 
my own daily course of physical endeavor 
1 think the law ought to hold me respon- 
sible for the burst hearts, the strained backs 
— even the deaths which might follow. 

My chief form of strenuous exercise is 
wrestling, for which I have prepared my- 
self by what amounts to a life-time of train- 
ing. Here is an exercise which I recom- 
mend to every young man, and advise for 
no one. As that statement seems para- 
doxical, I beg to explain. 

I do not think there is a finer sport in 
the world, nor one which contains more — 
or as much — of real physical artistry. I 
recommend it to young men onlv, and very 
young men at that. To begin wrestling 
is, I think, dangerous for any man over 
thirty-five, for the very pulls and strains, 
gradually accustomed to the body of a lad 
in his late teens or early twenties, would 
break or injure the older man. Wrestling 
is to me the king of sports. It is truly 
the hardest and most terrific. I box as 
well, and I fancy that I am able to de- 
fend my self quite neatly, but boxing is to 
me tame sport beside wrestling. Wrest- 
ling is more science than brute strength, 
although pliable muscles and physique 
count for a great deal. With scarcely 
any effort on my part I could, in five min- 
utes' time break the neck or the back of the 
strongest man in the world — provided he 
was not a wrestler ! 

I have several wrestling partners, and 
I wrestle several times each week, prefer- 
ably in the early mornings, most often in 
the Essanay studio, where I can dispose 
a mat conveniently ; and because it is also 
convenient to the baths and to my dress- 
ing room. 

My wrestling is not playing or posing. 
I never have spectators. I never have a 
wrestling partner who is not hired with 
the understanding that he is to throw me 
if possible, and to throw me hard. And 



How I Keep My Strength 



61 



sometimes he does ! This is quite delight- 
ful, for in such a man I have something 
to really work for. 

Afterwards I have a few minutes of ab- 
solute relaxation after the strains of wres- 
tling, in which I allow every muscle in 
my body to become nerveless, soft and pli- 
able. 

Then I take a 1 50-pound dumb-bell for 
a few brief moments, following it with 
some turns with the bar-bell. 

The final of my exercises is customarily 
a run with my trainer through Lincoln 
Park, which is at a convenient distance 
from the studios. In running as in the 
work on the wrestling mat I endeavor to 
be scientific and to do the right thing at 
the right time. A man may run in a list- 
less, slipshod fashion which does him ab- 
solutely no good. Another man may run — 
overheated from the indoor work — in care- 
less fashion and acquire pneumonia. I 
run for leg exercise, for wind, for deep 
breathing and to oxygenate thoroughly my 
blood, which is, in my estimation, one of 
the vitally important duties of the modern 
man too much indoors. 

I either run back to the studio, or I re- 
turn to it in my machine, thoroughly 
wrapped up as a protection against chill. 
A cold shower completes my morning's 
work, and after a short rest and a chance 
to read my mail, and perhaps dictate some 
correspondence, I am ready for a studio 
day. 

You must understand that it is 
not possible to definitely set a 
routine of this sort. I do not 
do this particular set of per- 
formances every dav. I 



"My chief form of strenuous exercise 
is wrestling, for which I have 
prepared myself by what 
amounts to a life- 
time training," 



cannot. Many things might interfere. My 
wrestlers might not be in attendance. My 
work in some outdoor picture might be of 
such strenuous nature that it would obviate 
this mechanical, set exercise — obviate it for 
that day only. For certain reasons I might 
want to take an extensive gallop on my 
horse. 

But the point is, I take one form of exer- 
cise, or its practical equivalent, every day 
in the year, Sundays included. 

Procrastination is not only the thief of 
time, but the true athlete's insidious enemy. 
Something is always tempting the athlete to 
put off his run, or to abandon his boxing 
for the day, or to cut his time in the gymna- 
sium in half. 

Don't trust yourself. I never trust my- 
self — because I can't, and athletic work 
has become as much a part of my existence 
as sleeping and working. Have set times 
and absolutely fixed periods from which 
you do not permit yourself to vary. 

My system is my own, and I give it to 
you as a statement of fact ; not as a rec- 
ommendation. I hire a personal athletic 
director for myself, and I hire him with 




62 



Photoplay Magazine 



the understanding 
that he is my boss, 
and can take me by 
the scruff of the 
neck — metaphoric- 
ally speaking — and 
make me do things 
when I have forgot- 
ten, procrastinated 
or deliberate- 
ly sneaked. 

This man has tak- 
en me out of after- 
noon parties and 
made me do my 
daily physical allot- 
ment much as a 
teacher gets a truant 
school boy and 
takes him to his 
classes. W hen I 
take the afternoons 
for exercise — as 
strenuous early 
mornings in the 
studio sometimes 
compel me to — this 
m a n rides down 
town in my machine 
with me afterward, 
or goes with me 
wherever I go, and 
does not permit me 




"Sometimes, I do not go through my particular 

set of performances every day; but take an 

extensive gallop on my horse." 



to go to dinner un- 
til I have "per- 
formed" for his 
benefit. 

For all of which 
I eventually thank 
him, though I must 
admit that he gets 
on my nerves some- 
times. 

In diet I en- 
deavor to eat those 
things — in modera- 
tion, always — which 
will be conducive 
to my best internal, 
and muscle building 
condition. Far, far 
too much is written 
on diet nowadays, 
and there are far too 
many rules. I do 
not believe in stimu- 
lants of any kind, 
and I believe only 
in the moderate use 
of exceedingly sim- 
ple, wholesome 
foods. Proportions 
are best settled by 
the individual when 
lie finds out his own 
physical demands. 



REA WITH THE BIOGRAPH 

D EA MARTIN, late of one of the "Peg 
* * O' My Heart" companies, has come 
back to the movies and is again a Biograph 
ingenue. She will be in "When Love Is 
Young." which will be the first photoplay 
in which she appears since her recovery 
from "legititis." 



B 



BURR BUSTS INTO PICTURES 

URR McINTOSH, long known to 
Broadway as the Jack-of-all-trades of 
the artistic world, has organized the Burr 
Mcintosh Film Corporation and will play 
the stellar role in "Colonel Carter of Car- 
tersville," which is to be the new organiza- 
tion's premier production. 



The Players 



For us they hide their private cares, 

We see no discontent of theirs, 

But only happiness and glee; 

Their tears they hide, their smiles we see. 

As each fulfils his nightly task, 

There's many a hero 'neath the mask. 

—Mary Carolyn Davies. 



Picture Theatres the Public Never See 



63 



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Women's Rights — the Besserer Definition 

Eugenie of the photoplays believes in improving HER OWN Southern California property in her own 
way, via her own firm biceps and bronzed small fingers. Mark the emphasized HER OWN; this 
'tittle bungalow, perched on a sightly side-hill location, is in the center of a big piece of Los Angeles 
city property which is unincumberedly this fair photoplayer's : the product of her artistic toil. 



Picture Theatres the Public Never See 



IN the heart of London's Filmland arc 
about twenty miniature movie theaters, 
to which the public is never admitted 
under any circumstances. 

These show places do not make any 
charge for admission, but you have to 
be a film selector in order to enter them. 

The film selector is a person of import- 
ance in British film circles, for his judg- 
ment means much to the renter — the mid- 
dleman — and exhibitor as well as the film 
manufacturer. To the latter it often re- 
sults in the sale of a copy of a film. Pic- 
ture palace proprietors usually select their 
programs through this critic, while he 
studies the wants of the renter's custom- 
ers. Some are employed by renters, oth- 
ers by the exhibitors for a small retaining 
fee and are carefully picked men. 



As a rule, these private theaters are 
open from nine in the morning until six 
at night and it is the duty of the selector 
to go the rounds and see all the films that 
are being shown. 

These theaters are very comfortable and 
elaborately fitted up. They are merely 
rooms in office buildings converted into 
showrooms, as they are dubbed by the 
trade. The critics see the manufacturers' 
wares nearly two months before they are 
released for public exhibition. The films 
are in a spotless condition and as time is 
precious they are sometimes run through 
at twice the usual theater speed. 

Every little consideration is shown to 
these men who count. During the pro- 
jecting of the films, expensive cigars and 
high class cigarettes are handed round free. 



64 



Photoplay Magazine 



A Star for a Star 

CVCH is Grace Darmond, who has been 
^consecrated by the Selig Company to 
exclusive leadingwomanship for its biggest 
legitimate star, Tyrone Power. Though 
Miss Darmond has been on the stage and 
before the camera a number of years, she is 
only eighteen years old. She made her debut 
in "Edytha's Burglar." She played a season in 
a sketch by George M. Cohan, and was for two *^ 
years in the "Auld Lang Syne" company. She has im- 
portant parts in the Power photoplays, "A Texas Steer,' 
and "A Servant in the House," and assumes leading 
feminine roles in "The Quarry," and "Whom the Gods 
Would Destroy," spectacular Selig specials soon to be 
released. Miss Darmond, an automobile enthusiast, 
drives her own car about Chicago, and each day to the 
studio in the morning and home at night. 




rf 



Grace Darmond 



The Queen A- Working Goes 




In a gas chariot all her own, and attended by the Prince-Regent, brother Jack. (Translation into 

common sense:) Mary Pickford, enroute from her home to the Famous Players Studio in Los Angeles. 

Wherever the star goes, she trundles the small white ball of canine aggravation which will be seen 

nestling on the window-ledge within the car. 




"The subterranean cell, lit day and night by rows of gas-jets, where the chorus girls arrayed 

themselves, " 

The Reward 

THE STORY OF A GIRL WHO DIS- 
COVERED THE REASON FOR SELF-RESPECT 

By Edith Huntington Mason 

Illustrations from the Thomas Ince Film. 



A NUMBER of girls were waiting 
in the room outside the manager's 
office when Jane Wallace made 
timid entrance. With what bright 
hopes of concert engagements she had come 
to New York! How badly her dear dead 
mother would have felt to know that her 
daughter was not only seeking a position in a 
stage chorus ; but that success in obtaining 
one had become a matter of necessity. 

Her name was called. The awful mo- 
ment of interview was upon her. 



Perhaps it was the unusual range of her 
voice that influenced the manager, perhaps 
it was her delicate prettiness. At any rate 
he made a brief matter of giving Miss 
Wallace a position in the chorus of "The 
White Rose." 

The girl who had the dressing-table next 
to Jane's in the subterranean cell, lit day 
and night by rows of gas-jets, where the 
chorus girls of the White Rose company 
arrayed themselves, was Trixie Reinhart. 
Jane was glad to make friends with her 

65 



66 



Photoplay Magazine 



among these girls who stared at her so 
boldly, and whose type was so utterly un- 
familiar: but if Trixie had thought to 
attract more attention to herself by holding 
up the Quaker as an object of ridicule, she 
could not have thought of a more disastrous 
method than to introduce Dan Conby to 
her pale prettiness. 

The news of the girl who refused to be 
dazzled by the "Great White Way," caught 
his imagination. At the thought of meeting 
a showgirl who was not interested in caba- 
rets or kings, the bored look faded from 
his dark, red-veined eyes ; the fretful curve 
to his fine mouth diminished. 

"Bring on your Quaker Queen, Trixie!" 
he said. "Suppose you'll be trying to make 
me think next that I'm going to meet a 
chorus-girl who holds honor before all 
else !" 

Trixie opened wide her heavy-lidded 
eyes. "Exactly!" she said, "Jane Wallace 
may die lonely but she'll never die anything 
but good." 

Conby laughed. "My dear child!" he 
said, "How wonderful your faith is ! You 
ought to know that there isn't a woman in 
the world who won't take the Primrose Path 
if she gets the right chance !" 

That was practically the last word Miss 
Reinhart had with Mr. Conby, for the next 
moment he was looking into the coolly 
sweet gray eyes of Jane Wallace. 

Winning the friendship of the Quaker 
was slow work. Dan found to his chagrin 
that his visits with her were limited to 
walks in Central Park. 

Vet, for all that, Jane did not attempt to 
conceal from herself her interest in him. 
His cynicism and restlessness appealed to 
her mother-instinct. The flattering feeling 
that he had need of her, took possession 
of her. 

The day came when Conby succeeded in 
persuading her to have luncheon with him. 
He had chosen for this first venture the 
Brevoort, a famous old hotel downtown, 
renowned for its French cuisine. 

"There's a question I've wanted to ask 
you a long time," he said sipping his demi- 
tasse. 

"Ask me," challenged Jane. 

"You know," he said, "I've never met 
anyone like you before, and I'm just won- 
dering what reward such a girl finds in 
keeping 'straight' ? Stage life must be full 
of temptations to make things easier." 



Jane's starry gaze widened to wonder. 
"Reward?" she repeated. "Does anyone 
need a reward for living right?" 

"Most people do," he said. "They go 
wrong because they can't seem to find one." 

She drew a long breath. "There is a 
reward after all," she announced, "the re- 
spect of the world." 

He raised his eye-brows. "My dear 
child !" he exclaimed. "People suspect one 
other too much, nowadays, to respect one 
other !" 

From that luncheon dated Conby's se- 
rious determination to understand this girl. 
The' desire to know what her answer would 
be if temptation were put before her in 
concrete form, became almost an obsession. 

It was his birthday and Conby had at 
last persuaded Jane to go to supper with 
him after the theatre. A friend of his, 
Cranston Willing, and Lilly Barrington, 
another showgirl, were to be of the party, 
and Jane had found no reason for refusing. 

The flight up the Great White Way in 
a limousine was, to Jane, a whiff of Para- 
dise. Heretofore the bright lights had only 
served to show her the way home. Until 
that evening they had never beckoned her 
to pleasures and palaces. 

The four entered Murray's, where they 
were to have supper. . An important look- 
ing personage hurriedly escorted them to 
a table just at the corner of the space re- 
served for dancing. In the centre of it 
was a goddess in black and silver with a 
jeweled band encircling her flaxen hair. 
She was dancing the latest steps with a 
slight, flat-eared youth who followed her 
dextrous writhings with mirror-like fidelity. 

"Zoey May, the highest priced dancer 
in vaudeville," said Mr. Willing as they 
sat down. "What will you have to eat, 
Miss Wallace?" 

But Miss Wallace did not care whether 
they ordered fresh goose liver with truffles, 
or just plain hash. She was too busy look- 
ing about her. The bizarre light for which 
the restaurant was famous shed its blue 
haze on the Titan figures of Egyptian 
princesses, guiltless of drapery, which or- 
namented the wall above the stairs, the 
hundreds of well dressed people at the sur- 
rounding tables, and next to her at her own 
table, the well-bred faces of the two men, 
Conby and Willing, and the white, pen- 
ciled profile of Lilly Barrington. What a 
world it was after all ! 



The Reward 



67 



Dan smiled, a cynical amused smile, as 
he watched the wonder grow on her young 
face. 

"Shall we dance?" he asked. The music 
had begun, and couples from neighboring 
tallies were continually rising. Lilly and 
Willing were already upon the floor. 

Jane turned a little pale. All her train- 
ing on the stage had not prepared her for 



He leaned across the table toward her. 

"I want you." he murmured in iron ten- 
derness. "I have the means to give you 
everything that makes life worth while. 
There is only one way for little pretty 
girls, my sweetheart. If I marry against 
my mother's explicit wish it's the end of 
all my money. She is a very positive 
woman — so vou see . . ." 




"Meanwhile, a leaven of shame and compunction had been working hi Dan Conby's heart' 



the sensation of dancing with Dan at a 
public restaurant. But when they had one- 
stepped together the third time she ac- 
cepted with quite an air of sangfroid, a 
clover cocktail. 

Conby laughed to himself. "The Quaker 
wears a gay petticoat !" he thought. 

It was growing late and Lilly Barrington 
and Cranston Willing had long ago taken, 
their departure. Conby and Jane after 
dancing three or four numbers in succes- 
sion, sat clown at a table to rest. 

Dan looked at the new fire in the girl's 
eyes, and an idea came to him. He would 
make the test he had so long wanted to 
make. Was the respect of others dearer 
t«i Jane Wallace than anything else? 



They had argued the question so many 
times, abstractedly, and Conby had ex- 
pressed his views so freely, it did not come 
as a shock to Jane to find that he was 
making of himself a concrete example of 
temptation. 

But it did come as a surprise to the man 
to find that he awaited her reply with some- 
thing like fear. He had anticipated the 
moment of her capitulation, with triumph ; 
now that it seemed actually at hand, he dis- 
covered that he was in mortal dread lest 
Jane should justify his cynicism. 

But he did not know Jane Wallace. 

Already the glamour of her first fling 
was fading. She smiled at him sadly, in- 
dulgently. 



68 



Photoplay Magazine 



"0 Dan ! Dan !" she said, "do you really 
think, because I've let myself go tonight, 
just this once, that I've forgotten how 
much I care for respect?" 

A tide of relief, mingled with mortifica- 
tion swept over the young man. Almost 
she had persuaded him. 

"Come," he said, rising ; "let's go." 

Conby was an obstinate sort of man. 
The wish to try her once more and in a 
different way proved irresistible. He knew 
that the respect she prized so was difficult 
to obtain. Many well-born, well-bred per- 
sons were incapable of believing that a 
chorus girl could keep straight. He wanted 
very much to hear what Jane had to say 
about her "reward" when she should have 
encountered some of these. 

Not many days later Jane received an 
invitation from Dan's aunt, Mrs. Hathaway 
Steele, to one of her informal Sunday eve- 
nings at home during Lent. 

Determined not to disgrace Dan, Jane 
put the money she had been saving for a 
suit into a frock for the occasion. 

She liked it all, the taxi which took her 
to the house, the solicitous footman, who 



pointed the way upstairs, the maid who 
helped her off with her wraps as carefully 
as if they were cotton batting about a 
precious jewel. 

Her enthusiasm received its first chill 
when she noticed that the other girls in 
the dressing room, pretty young tilings, 
about her own age, though they ceased their 
chatter for the fraction of a second on 
her entrance, resumed it again exactly as 
if she had not joined them. It made her 
feel suddenly lonely and out of it. 

Dan met her at the drawing room door. 
The next moment she was shaking hands 
with his aunt. 

Poor innocent Jane ! Before the evening 
to which she had looked forward so much 
was half over, her quick wit told her that 
she was regarded as an interloper. The 
other guests were politeness itself, yet there 
was a something about them, as chill and 
remote as the north pole, which gave her 
to understand that she was there on suffer- 
ance. 

At first she felt bewildered. Her dress 
she knew was as correct as anyone's, her 
shoulders more dazzling. 




'The reward of virtue is untainted motherhood.' 



The Reward 



69 



Slowly the realization came to her that 
she was an outcast because she was "in 
musical comedy." Like Dan, these people 
did not believe in a "show girl." 

Hot, furious tears rose many' times to 
her eyes, but she never let them fall. Hard 
circumstances as well as easy ones make 
thoroughbreds and as far as the others 
knew, — Miss Wallace was enjoying the 
evening. 

Human endurance has its limit, however, 
and at the first signs that the party was 
breaking up, Jane fled to her lonely taxi. 
She did not even wait to take formal 
farewell of Dan. Somehow she felt too 
unhappy. The fear that he was right and 
that there was no reward for virtue, began 
to eat into her very soul. 

Her experience at the theatre the night 
following was not just the right one 
to counteract this feeling. Jane was late 
in arriving and the stage manager fined 
her. As she lingered to argue the matter, 
Trixie and another girl charmingly arrayed, 
swept in, and were passed without so much 
as a mention of the word "fine." 

This was too much for Jane's sense of 
justice. 

"That's not fair!" she cried. 

The stage manager eyed Jane's shabby 
little black suit and then tossed his thumb 
toward Trixie and her companion. 

"Fine a pair o' golden geese like that? 
Their Johns have half the boxes every 
night. What do you take me for?" 

Jane's understanding of such things was 
quickening in this hard school of expe- 
rience. In bitterness of spirit she went to 
the dressing-room: 

She found that she had it to herself. 
Drearily she put on her make-up, did her 
hair, and wiggled into her costume. Then 
she stood looking down at the hated tights 
which tonight seemed more hateful than 
ever. Her lips trembled as she remem- 
bered the only word of notice she had 
received from the press : "Jane Wallace, in 
rose-pink tights, displayed to advantage her 
gorgeous limbs." Not a word about her 
voice, though she had a song. 

It was debasing. — humiliating ! Wasn't 
there some way for her to get even with 
life? Wasn't there some reckless, desperate 
thing she could do to signalize the death 
of her ideals? 

The call-bell rang. She dabbed powder 
at her chin ; then, as she paused to stare 



at herself in the glass an idea seized her — 

"I'll do it!" she said aloud, "I'll go to 
him tonight or my name's not Jane Wal- 
lace !" 

Meanwhile a leaven of shame, of com- 
punction had been working in Dan Conby's 
heart. Why had he allowed interest in his 
experiment to subject little Jane to such 
an ordeal as his aunt's party? The mem- 
ory of her proud lips and courageous eyes 
sent a stab through him. He had known 
when he asked her, how things would go. 
How cruel he had been ! He must see 
her at once and ask forgiveness. 

It was after theatre time. Jane would 
be at her boarding-house by now. He 
jumped into his car and made all speed 
downtown. At the very same moment, 
Jane, in a cab, was making for the apart- 
ment house where he lived, to tell him he 
was right — the primrose path was best. 

A Japanese butler admitted Miss Wal- 
lace, and bade her be seated. Mr. Conby 
had just gone out, but would return shortly. 

Jane was disappointed. It made her 
nervous to wait. She wanted to throw her- 
self into Dan's arms while her nerves were 
screwed to high tension. She paced rest- 
lessly around the room examining pictures 
and photographs. Then she picked up one 
of Dan's gloves lying on the table. The 
imprint of his hand was still in it. She 
kissed it. Perhaps, perhaps it would not 
be so bad after all. He would be good to 
her, she knew — 

Sounds of confusion from the next apart- 
ment startled her. She put clown the glove. 
The Japanese came running and opened 
the door. Jane, looking over his shoulder, 
saw a gray-haired man standing in the op- 
posite entry looking anxiously toward the 
stairs. He caught sight of Jane. 

"Come here quick," he said, "I need 
help." 

Jane followed him into the neighboring 
apartment. In the bedroom a battle for 
life or death was raging. It was an emer- 
gency case ; there had been no time to 
summon the trained nurse, and the doctor 
had been obliged to handle it alone. The 
child had come safely into the world, but 
the mother was in danger. 

Jane knew little or nothing about such 
matters ; but she was intelligent, and found 
no trouble in obeying the surgeon's quick, 
sharp orders. In a very few minutes the 
danger was passed, the young mother safe. 



70 



Photoplay Magazine 



Jane felt suddenly weak. She heard the 
doctor's voice saying, "here, drink this," 
as he held a glass to her lips. She rose 
to go but the faint, weak voice of the new 
mother detained her. 

"Give me my baby!" it said; "give me 
my baby !" 

Jane sat down on the edge of the bed 
and watched with breathless interest while 
the doctor placed the newly-born infant 
. in its mother's arms. The sight of the tiny 
dark head against the breast of the white- 
faced girl in the bed, brought the tears in 
a sudden rush to Jane's eyes. The scene 
seemed, in a moment to have a meaning that 
was just for her. A phrase she had read 
somewhere came to her mind. 

"The reward of virtue is untainted moth- 
erhood." 

"If you will excuse me," she said to the 
doctor, and went out. But she did not go 
back to Dan's apartment. No ! No ! Never 
that ! How could she have thought of such 
a thing ! Pale with the fear that he might 
return, she flew down one of the two flights 
of stairs that led to the front door, and 
liberty. But she was too late. 

The street door opened, then shut, and a 
voice she knew well hummed a little song. 



Panic-stricken, the girl glanced about for 
a place of concealment. There 'was only 
the darkness of the landing. The familiar 
steps came slowly up the stairs. Jane shut 
her eyes. Instead of a prayer the words 
"the reward of virtue is untainted mother- 
hood," came into her mind. 

Perhaps they worked the miracle, but at 
any rate Dan failed to observe the slim, 
dark figure, which flattened itself against 
the wall as he passed, and she was free to 
run down the stairs and let herself out into 
the street. 

On reaching home she was told that a 
gentleman had called to see her and that 
he had left a note on the table in the front 
parlor. 

She entered the musty room and turned 
up the gas jet. Yes, it was there, a letter 
from Dan ! She kissed it, — then tore it 
open. The contents were brief. 

"Dearest girl in all the world," it ran, 
"Knowing you has taught me that living 
right is the only way for anyone to live, 
man or woman. I came tonight to tell you 
that you are dearer to me than money or 
family or anything in the world. I want 
you to be my wife. 

"Dan." 



Muriel Ostriche With 
Vita&raph 

iyr URIEL OSTRICHE is one of the 
*•** many well-known movie stars that the 
Vitagraph company has been taking into 
its fold this month in pursuance of a steady 
policy of enlarging its constellation of stars 
pursued since the beginning of the year. 

Miss Ostriche will be seen in a number 
of roles quite different from anything she 
has recently attempted. Her first appear- 
ance under the new management will be 
in a three reel feature. 

Some time ago she was suddenly stricken 
blind while working before the camera and 
for a while it was feared that she would lose 
her sight, or that it would be permanently 
impaired. Fortunately, however, her 
friends' fears were groundless and Miss 
Ostriche has thoroughly recovered and is 
ready for work again. 



Catherine to Be a Gray Nun 

pATHERINE COUNTISS, well known 
^throughout the country for her work 
on the dramatic stage, will appear this sum- 
mer in "The Gray Nun of Belgium," pro- 
duced by the new Dramatic Producing 
Company of Los Angeles. 



JACK TUCKER, of the team of Wil- 
liams and Tucker, has been converted 
from vaudeville to the movies, and will 
appear in films produced by the Jackson- 
ville, Florida, studio of the Lubin com- 
pany. 



POLONEL WILLIAM N. SELIG. 
^"master mind of the Selig Polyscope com- 
pany, is fifty-one years young. He cele- 
brated his fifty-first birthday early this 
spring. 



Domestic Drama on the Screen 




r\ 



l^~ 



WHEN 
YT the pur- 
pose of the 
first "mov- 
ing' picture" 
was to drive 
a tardy audi- 
ence out of 
a vaudeville 
theater not 
even the 
most san- 
guine foresaw the legitimate photoplay comedy and 
the great photoplay spectacle immediately impending. 

Now that these have arrived ; now that big dramas 
are reproduced with their stage splendors raised to 
the nth power on the screen, producing managers and 
imaginative writers are leaning toward the finer side 
of histrionic impression. The ultra-modern director is 
trying to get screen subtlety, even as he has already 
obtained screen laughter, screen thrills and screen 
pathos. 

One of the most interesting of these experiments — 
happily, a very successful one — has been the domestic 
drama series of the Lubin company. This has been 
an enterprise of stealth. No one at the Lubin studio 
has patently labelled them "domestic dramas." No 
one dared to. The Lubin folks have been holding 
their collective and respective breaths and — waiting. 



The dramas are "over." in show parlance, 
and the Philadelphia* players are breathing 
freely. 

The principals are Joseph Kaufman and 
Ethel Clayton. 

The subjects have not emanated from the 
pen of any one writer, but have mainly been 
directed by Kaufman. 

For months Miss Clayton and Mr. Kauf- 
man have been creating photoplays of two or 
three reels, based on the problems that con- 
front a husband and wife in some of their 
more intimate relationships. 

These photoplays have not been without 
their touches of humor, but the trend in the 
main has been serious. That pathos which 
quickly becomes pathos has 
been avoided, though one 
must admit, after seeing the 
subjects with which Kauf- 
man has worked, that the 
margin of "sob stuff" in 
plays of this description is 
always dangerously 
close. In Kaufman's 
intelligent, clean 
avoidance of it has 



Ethel Clayton, 
Joseph Kaufman, 
and a scene 
from "The 
Blessed 
Miracle. " 




*^k£ 



71 



72 



Photoplay Magazine 



What is the thing most liable to wreck 
the modern home? 

Is it — as our more conventional and 
casual dramatists would have us suppose — 
the intervention of some third party ; the 
malministration of the missing line in the 
eternal triangle? 

Kaufman thinks not, and probably he 
is right, for in his subjects he has gone be- 
low the surface of domestic discord ; he 
has made the lack of children the prevail- 
ing factor of discontent and quarreling. 

The Lubin studio immediately found it- 
self confronted with two walls of difficulty. 
Would an audience, used to the broader 
and plainer sort of entertainment in film 
theatres, accept a story of this delicate 
nature as anything but tiresome? Granted 
that the subject were made vividly realistic, 
would the superficially "nice" think such 
treatment vulgar? But the domestic drama 
has escaped both the devil of hypocrisy and 
the deep sea of boredom. 

The happy endings have invariably been 
brought about by the birth of a child. 

In one instance the wreck of a home has 
been effected through the wife's indiffer- 
ence to the husband's craving for a child. 

In another it has been the feverish, 
money-getting husband who has deprived 
his wife, in a selfish love which was little 
else than pride and lust combined, of 
woman's ultimate attainment, motherhood. 



One of the most interesting, carefully 
developed and intelligently wrought-out 
plays in this series is "The Blessed Mir- 
acle," released not long ago. Here the 
wife, evidently cheated by blind Nature of 
her dole of motherhood, watches her lover- 
husband gradually losing interest in her 
and their home, even as he plies her with 
every luxury. The inevitable "other 
woman." attracted by the man's capacity 
for money-making, lures him a little way 
into her net, and he goes to Europe, leav- 
ing his wife at home. She realizes that 
depriving him of a child has cost her his 
love ; and when she finds that at last she is 
to have a child, she follows him as far as 
New York, intent only on presenting him 
his offspring, no matter what his attitude 
toward her. The reconciliation is effected 
at her bedside. 

Photodrama has never penetrated more 
subtly and delicately into the finer side of 
femininity than in the scene in which beau- 
tiful Ethel Clayton portrays the future 
mother alone in her splendid home, wak- 
ing, in a flood of pale midnight moonlight, 
to the first wondering realization of a little 
life beneath her heart. 

Such plays as this, as finely handled and 
as sumptuously produced as these have 
been, are an augury that photodrama is 
mounting to its rightful place with the 
highest dramatic arts. 



Respite 

IN childish days, to dry the tear 

* A picture book of Mother (Joose — 

Jack's giant with ferocious leer 

And four and twenty birds set loose. 

When now assailed by fretting thought. 

The movies — Ships and buried treasure, 
Lorn beauty, and brave men are brought 

To give an hour of pleasure. 

— Mary Louise BenJiam. 



Safety First 

J AST night, she was a maid demure, 
*-"■ With dimpled chin, caressed 
By satin bow of pale azure, 
And roses on her breast. 



Today, in gown of gorgeous hue, 
She danced the gay Maxixe ; 

And from the Screen brave kisses 
To me — bevond her reach ! 

— D. H. O'Neill. 



blew 



The Venus of Milo Has Nothing On 





these dismal, broken-rimmed, flat-tired, derailed, shrieking feet for precious financial value. Each of 
these horrible objects has just been insured for $25,000! As the champion shapes of ugliness for all 
time? Possibly. There is something in that. But they were insured because of their potential powers 
of silvery laughter — limbering up crooked minds — letting some humor-sunshine into midnight hearts. 
As far as that is — . What? Oh, yes; they're Charlie Chaplin's feet. 




" He felt as if he'd known her always, just as he'd always known the evening star." 

The-Sort-of-Girl 
Who - Came - From - Heaven 

A VISION THAT WAS JUST TOO GOOD TO BE TRUE 

By Mrs. Ray Long 

Illustrations by- the Vltagraph Company of America 



AT twenty-five. Mortimer Vinton 
had come to that place in life where 
he felt he knew what was what. 
These "whats" referred respectively 
to the broad field of what the public wants 
to read, and to the broader field of women 
— honey women, business women, social 
butterflies, actresses and suffragettes. Vin- 
ton believed they were synonymous. 

"No man-and-dog stuff for me," he 
would say to his club friends. "All the 
big Swedes and faithful malamutes in the 
Arctic can freeze in every winter and I'll 
not raise a pen to dig 'em out. It's GIRL 
that people want, always have wanted, and 
always will want — GIRL, with every letter 
a capital." 

Here Vinton always grew a little dra- 
matic. He had started early and been sev- 
eral lean years "coming." Now that he 
could keep up with the fashion in over- 



coats, and pay his club dues, and all be- 
cause of his great discovery, he felt him- 
self a benefactor for being willing to put 
other struggling writers on the right track. 

"What sells the newspapers? War? 
Not any. Watch the people step up with 
their coins when the boys yell, 'All About 
the Love Letters Read in Court.' And 
when I get hold of the kind of girl I'm 
looking for, a sweet, modest, quiet girl who 
has the pep all right, but, hang it, a kind 
of dynamic pep, if you understand what I 
mean, who shows you she could flirt and 
raise the dickens but wouldn't, you watch 
me. I promise you'll be proud of me. I'll 
write the best seller ever if I find the-sort- 
of-girl-who-comes-from-Heaven." 

"Not to mention something else that's 
liable to happen to you if you find her," 
put in the club wag. one February day, as 
Vinton was going over his pet monologue. 

73 



74 



Photoplay Magazine 



It was well known that with all of his live 
model study in building his heroines, Vinton 
had never really fallen in love. 

"Well, I'm on my way," drawled Vinton, 
as he prepared to leave. "When I find 
her I'll let you know." 

"Don't trouble yourself. You won't 
have to. We'll know." And Vinton went 
out not at all displeased at his friend's 
last shot. 

The business he had set for himself that 
afternoon was to get a new line of small 
talk for the heroine he was building. He 
thought a minute. A song bird he knew 
had eyes with a wonderful glint in them. 
Vinton saw no reason why work should not 
be pleasant, so turned his footsteps to her 
hotel, already enjoying in anticipation the 
delight it would give him to bask in the 
dancing light of her whimsical gaze. 

They found a table up in the tea-room 
where dancing held sway. Vinton ordered 
carefully and sparingly. He still lived 
from -story to story. 

The lights were just right and he was hav- 
ing as good a time as he expected. He was 
even having a better time, for never had he 
seen those auburn eyes in such a riot of 
sparkles. He forgot to listen for the small 
talk he needed as he looked into their merry 
dancing. But soon he had a horrible feeling 
that they were dancing past him instead of 
at him. He turned quickly and caught an 
answering activity in the eyes of a pros- 
perous-looking man behind him. 

Four minutes later Vinton was out on 
the street, wondering if there really was a 
girl anywhere who had a sparkling eye that 
was straight. He was still wondering as 
he turned into an ice cream parlor on the 
Avenue in the heart of the shopping dis- 
trict. Here he knew he at least would find 
small talk, and small talk, he told himself, 
was all he had a right to think of just now, 
or he'd run out of money before he got an- 
other story accepted. He settled himself 
at a table near a lot of chattering girls, 
but listening to them didn't keep him from 
giving his eyes a chance to roam. They 
only got as far as a little table against the 
wall and stopped. The GIRL he was look- 
ing for, his Heroine, was sitting there, 
choosing something from a card. 

She was just a sweet-looking girl, almost 
Quaker-like in appearance, and seemingly 
lost to the world in the study of her card. 
Her small hat was plain, except for some 



tiny roses at the side, and the only relief to 
her closely-buttoned corduroy coat was a 
little lace ruff at the neck. 

"Painter's model?" giggled one high 
nearby voice questioningly. 

"Probably doing the pose for some 
church- window Madonna and can't forget 
it," jeered another. 

Vinton was disgusted. He couldn't un- 
derstand the unfairness of the feminine 
mind. He started out, although he hadn't 
enough material. On the way he saw a 
girl he knew also making for the door from 
a table behind The Girl's. He halted, as 
he wanted to avoid her. Then to his amaze- 
ment, she was evidently acquainted with 
The Girl and stopped to speak to her. He 
changed his mind about the avoiding, and 
got to her just in time to be introduced to 
the real object of his interest. And as The 
Girl raised her eyes shyly to his, he forgot 
to show any concern when his acquaintance 
said she had to hurry on. He was only con- 
cerned because the eyes had suddenly gone 
down again. 

"May I sit?" asked Vinton, and didn't 
wait for an answer, but sat. 

The Girl looked up again. Hers were 
wonderfully dressy eyes. They were vel- 
vety as dusk and shadowed with thick gen- 
tian-like fringes. They changed her whole 
appearance and yet were in keeping. She 
seemed to be considering. Anything to 
keep those eyes up, Vinton thought. 

"Oh, if you'd rather I'd not," he said, 
apologetically. 

His hesitancy pleased, and The Girl 
made a pretty little motion that he continue 
to be seated. 

Vinton never could tell quite how it hap- 
pened. He'd never met a girl before who 
said so little herself and made him say so 
much. After an hour he didn't know a 
definite thing about her. He hadn't even 
caught her name when he was introduced. 
But somehow, he felt as if he'd known her 
always, much as he'd always known the even- 
ing star, for instance. She, like the star, 
was shy yet beckoning, brilliant yet gentle, 
companionable yet remote. And just as he- 
would have looked at the star over his left 
shoulder and wished without the least feel- 
ing of flippancy, so he found himself pro- 
posing that they drink a sort of philopena, 
one glass and two straws. She hesitated, 
then complied and sipped at her straw as 
demurely as if Vinton were in the next state 



The - Sort - of - Girl -Who- Came - From - Heaven 



10 



instead of only a few inches from her, gaz- 
ing at her till the warmth of his look must 
have embarrassed a more sophisticated girl. 

Vinton kept the philopena drink going 
as long as he could, and when at the end 
she said she must go, he found himself hav- 
ing to pluck up courage to ask her if he 
might walk home with her. To his chagrin, 
she didn't seem delighted at all. She puck- 
ered her smooth forehead in a delightful 
lifting way she had, thought a bit, and 
finally smiled her consent. 

On the way up the Avenue, Vinton 
thought he had never heard anything so 
pretty as her childish delight in the show- 



hungry waif make big, longing eyes at 
warm buns in a baker's window. He 
wanted just one thing. He wanted to slip 
into that store and get th^t hat for her and 
give it to her in such a way that it wouldn't 
hurt her pride to take it. Of course, he 
bungled. 

"It was made for you," he whispered. 

"Oh, no, no it wasn't, at all," she an- 
swered in a startled little voice, as if she 
thought he was speaking literally. 

"I mean, it's just your style, exactly the 
thing for you." Vinton looked his admi- 
ration for both her and the hat. "And 
what I'd like is to see it on your head." 




"It's GIRL that people want, always have wanted and always ivill want- 
GIRL, with every letter a capital." 



windows. It was so spontaneous she must 
lately have come to the city. He was about 
to ask her, when she stopped before a dis- 
play of hats. She leaned to the window 
that separated her from the objects of her 
admiration like a compass point to a 
magnet. 

"Lo-o-vely," she crooned, as her eyes 
rested caressingly on a bit of bee-hive- 
shaped millinery. Vinton could feel the 
wistf ulness of her gaze. In an instant he 
was like a Christmas shopper watching a 



"Oh, I have a hat," she answered sim- 
ply, and as if that settled the question. 
Still her wistful gaze clung to the window. 

"Let me get it for you," Vinton sug- 
gested. 

"You? Oh, how could you even sug- 
gest such a thing?" She raised her glorious 
eyes and Vinton saw a mist in them. 

"Oh. please, please," he stammered, then 
seemed to hit a bright idea. He took on a 
masterful manner. "Now tell me. You'd 
let me buy you a basket of flowers, wouldn't 



76 



Photoplay Magazine 




" The bill was a shock; but he gathered himself together and paid as nonchalantly as any rounder. ' 



you? Well, what's this hat but a basket 
turned upside down with the flowers on 
top?" 

"I'd never thought of it in just that way," 
she said, brightening. "It must be wonder- 
ful to lie clever." 

"Then in we go." he said, still master- 
fully. 

It was really a beautiful little hat and 
it looked charming on The Girl's beautiful 
little head. She turned and looked and 
smiled and turned and looked and smiled 
again. 

Vinton was enchanted. 

"Mademoiselle will take the hat?" asked 
the milliner. 

"Certainly." said Vinton, decidedly. 
"How much?" 

The milliner named a fancy, an exceed- 
ingly fancy price. Vinton was staggered. 
He could just cover it. and did it bravely. 

"The name? To whom shall I send it?" 

Again Vinton was overcome. He had 
not caught the name. The milliner sud- 
denly had business in another part of the 
room. Vinton took advantage of the 
respite to whisper, "Your name, your 
name." 

"Genevieve Corbay," answered the girl, 
whose rapt gaze at the hat showed she evi- 



dently hadn't understood the hitch. Vinton 
was immensely relieved. He wouldn't for 
the world have embarrassed her because of 
his rashness. 

Out on the street again he breathed 
easier. 

"Your name is very sweet, but not as 
sweet as the one I have for you," he told 
her. 

The girl looked waitingly, demurely 
down. 

"I call you The-Girl-YVho-Came-From 
Heaven." Vinton's voice was soft and 
almost in her ear. She did not answer. He 
saw her struggle. It seemed too hard to 
find the words. Finally she just raised her 
wondrous exes to his, all dewy now, and he 
felt a tightening about his heart that no 
live model girl had ever given him before. 

That night he worked feverishly. He 
finished the ordered story and delivered it 
early the next day with a request for check. 
Checks now meant flowers and golden 
hours with that girl, and he wasn't going 
to lose any by wasting courtesy on a maga- 
zine business department. He found some 
dainty blooms and called with them as a 
pretext. The girl was even lovelier than 
the day before, in a quaint wasp-waist 
bodice and full grandmother skirt of softest 



The-Sort-of-Girl-Who-Came- From- Heaven 



77 



dove gray. A little lace collar with big 
odd gold brooch and lace cuffs were her 
only adornments. Vinton thought St. 
Cecilia had come to life. He was so jubi- 
lant over his find that when she told him 
she 'was an actress he wasn't even aston- 
ished. 

When Vinton looked for Miss Genevieve 
Corbay's name in the cast where she was 
playing, he realized what she had meant 
when she said she had done so little. He 
found it in the small type group of the 
chorus. At once he was indignant. But 
he knew the way of the stage. Coarse fea- 
tures that "made up" well were always 
pushed ahead of refinement and delicacy, 
and it was only rarely that merit got any 
chance. The only consolation he could 
give himself was that he was now in the 
lists for Miss Corbay and he was going to 
repay her for her brave struggle by im- 
mortalizing her in the greatest American 
novel ever written. And when she came 
tripping out with the other girls, and stood 
out among them like a delicate pink rose 
bud among dotted field lilies, he again felt 
that suffocating tightness around his heart. 
He knew she could not have been long 
among their coarsening influence and he 
burned to take her away from them alto- 
gether. 

"Just a little supper and you do the 
ordering so it will be exactlv as vou want 



it," he coaxed her one night after the play. 
The manner of his invitation evidently 
pleased her childish fancy. 

"Just exactly what 1 want?" She smiled 
up at him with the interest of adventure 
into new worlds in her eyes. "Oh, that 
would be 1-o-vcly." Again her words 
were a croon as when she first saw the 
memorable hat. Vinton lost no time in tak- 
ing her to a quaint Bohemian restaurant he 
knew and thought would fit her like scenery 
made to order. 

Genevieve was all delight with her sur- 
roundings. Vinton had never seen her in 
this mood. He hoped he would often. 

"What's chartreuse?" came questioningly 
over the big card she held. 

Vinton explained, dilating on the cor- 
dial's radiant amber color, thinking the 
description of its beauty would please her. 

"Sparkling Burgundy. What a beautiful 
name. And that — ?" She poised her card 
while she waited. 

Vinton found himself hard pressed for 
adjectives to tell of the richness of its red 
with his heroine as auditor. Genevieve's 
forehead lifted itself in that adorable 
pucker as he finished. 

"Wouldn't it be interesting to have a 
kind of rainbow dinner?" she said after a 
minute's pondering. "There would be 
colors enough?" 

Vinton fell to searching for the proper 
colored beverages and found them all or 



" You' It make me a 
polygamist when we 
many— there are so 
many of you!" 




78 



Photoplay Magazine 



so nearly that no rainbow need to have 
blushed at the result. And Genevieve 
showed the delight she would have in a 
new game. She hunted for foods to match 
the drinkables with gay abandon. Vinton 
told himself he never dreamed it would be 
such fun showing things to a girl who 
hadn't had his advantages. And the sup- 
per itself was as much fun as the choosing. 
Genevieve sipped wines and cordials like 
a bee hovering over flower honey cups. 
Vinton wondered why other , women 
couldn't learn this delightful way of drink- 
ing that didn't seem like drinking at all. 

The reckoning with the host was the 
only drawback. Careful and frugal order- 
ing had always been Vinton's rule from 
necessity. It was a shock when the bill was 
brought. He started to look over the items 
to see if there was a mistake when he 
caught a distressed look on the girl's face. 
He gathered himself together and paid as 
nonchalantly as any rounder. 

As the days went by the money problem 
began to worry Vinton. He couldn't make 
himself go past florist shops without enter- 
ing and sending the blossoms that seemed 
so much - like her to Genevieve. And he 
couldn't afford it. He had almost decided 
to give up work on his great book and spin 
out salable short stories, when the pub- 
lisher, who had long held his last novel, 
sent him a goodly check for advance 
royalty. He rushed to the telephone. 

"A novel accepted and advance royalty," 
were the words he sent bounding over the 
wire. 

"You wonderful man!" came tripping 
back. 

"The supper to-night is to be such a 
supper as never: was," Vinton promised. 
"Don't say 'no' for. we're going to the 
swellest place I can find." 

"But you know I don't like the noisy 
places where the crowds go," pleaded the 
voice he loved. 

"Not even to celebrate?" 

"Well, just this once." Then Vinton 
went back to the pleasant work of writing 
down the last words and the last sweet 
mannerisms of Genevieve's he had noted, 
and for the thousandth time he fell in and 
out of reveries of the sensation his book 
and his heaven-made heroine were going 
to make. 

That night he dressed carefullv and half 



hoped Genevieve would wear a more strik- 
ing costume than usual. It would better 
fit the elaborate supper room where he was 
going to take her. Then he was ashamed 
of wanting her otherwise than the little 
Quaker she was. But when she came to 
him after the play he almost gasped. It 
was as if a shrinking country girl had gone 
up a staircase and come down a queen. 

Genevieve seemed even to have grown 
with the change. Her hair had gone up 
and her quaint, full skijts down. Her low 
cut bodice revealed a lovely flesh, soft and 
creamy against the rich material of her 
gown. The white furs around her shoul- 
ders threw out the duskiness of her soft 
crown of hair. 

"You wonderful girl!" cried Vinton. 
"I just make up my mind you're an elf 
of moonshine or a gossamer angel and, 
presto, you're a queen of night. You'll 
make me a polygamist when we marry, 
there are so many of you." 

Genevieve only looked her amusement 
and Vinton hurried her into a taxicab, 
eager to be off. 

Their table was tucked in a little grove 
of palms that did not make them invisible 
to the rest of the room, but gave them the 
look of wanting to be alone. Several 
smiles followed them as they were seated. 
Genevieve seemed to feel it and actually 
hurried, as if to escape their gaze. 

"The child can't help being a little 
scared," thought Vinton. 

The supper was perfect. Vinton beamed 
with pride on the lovely girl across from 
him. If she had been born to dinners and 
suppers in high places she could not have 
acted with greater ease. She was and she 
was not the simple ?irl he had known. And 
he was exultant. It bore out his theory 
that she had dynamic pep. It was hard 
to tell who in him predominated in this 
exultation, the writer or the lover. He 
leaned across the table and held out his 
hand. She laid her hand in his and so they 
sat looking into each other's eyes. 

Genevieve was the first to break that 
ardent gaze. Her glance went out and 
came back to Vinton with a look of fear. 
She started, snatched away her hand and 
rose agitatedly. 

"I'm afraid I must go," she whispered. 
"I see my husband.' Thank you so much 
for a lo-o-velv time." 



A Four-footed Satan at Bay 




J. Warren Kerrigan 

enjoying the rearing plunges of a black piece of equine dynamite. From a photograph taken in 
Southern California a few weeks ago exclusively for Photoplay Magazine. 



79 



AUTHORS of magazine stories 
assure us that stage managers are 
terrifying characters. They swear 
sump'n awful and spend their spare 
moments telling talented young ladies that 
they ought to go back to the wash tub. 
Whether or not this is a libel on stage di- 
rectors, it would certainly be a libel on mov- 




Dire 



THE MEN WHO 

By Harry 

occupations, some of the bush leaguers 
tear around like chickens with their 
heads cut off while directing pic- 
tures ; but the directors who have 
become famous seem to have just 
one trait in common : they work easily. 
In every other characteristic they are 
different from one another. 

A picture directed by T). \Y. 
Griffith, for instance, is a de- 
cidedly gay affair. Griffith 
"kids" the actors and the 
spectators and has a per- 
fectly bully time himself. 
Once there was a well- 
known semi-pro named 
Samson who was like a 
fashionable pianist ; the 
best part of his act was 
his hair. A girl snipped 
off his hair and the cur- 
tain came down on Sam- 
son's career. It cannot 
be stated positively that 
Mr. Griffith has a similar 
affinity for his old straw 
sombrero, but he clings to 
that ancient Mexican head- 
gear as devotedly as Samson 
did to his hair. No doubt 
the hat once was young and 
proud with the pride and 
glory of its youth ; but 
it is now in years. Most 
of the crown has come 
off and the Griffith locks 
sprout up through the 
thatching as he directs 
his companies. He is 
never seen directing ex- 
cept under this straw 
hat. 

Griffith has one rare 
characteristic : he can di- 
rect while sitting still : 
literally, squatting still. 



ctors 



MAKE THE PLAYS 

C. Carr 

If you would like to know what Griffith 
looks like as he works, picture a tall man 
with an aquiline- nose. He looks more like a 
commander of men than an actor. There is 
something ahout Griffith that impresses one 
that he might have been a captain of 
finance with shiny office furniture, desk tele- 
phones and relays of secretaries. 

In his outdoor pictures, he has 
a great habit of squatting on his 
haunches like a Jap picking 
grapes. The temptation of the 
average director is to rush about the 
actors, showing them his ideas — act 
ing out the parts. Griffith sticks to his 
post like a captain of a ship in his con- 
ning tower. He very seldom moves from 
his original squat. 

"Walthal." sings out Griffith through 
the megaphone, "come out through the 
gate. That's good. Now that colore 
man — faster — Oh. hurry up here, 
Uncle. You could go faster than that 
if you saw a chicken, couldn't you 
Now Miss Marsh. 

"Now the other young ladies — say, 
are those real diamonds? I mean 
•those rocks on that pretty girl. My, 
what a lot of diamonds ! You'd 
better turn those inside your 
hand : they'll cause halation in 
the picture. 

"Now Walthal, this way. 
Say — I mean that pretty girl 
— there must be a lot of 
good exercise in carrying 
around all that load of dia- 
monds. 

"Now Uncle, I want you 
to do a little jig in front 
of the white folks. Can't 
you dance better than that ? 
I can do better than that 
myself. Say, who's that 
old colored man back there 
in the crowd. Uncle, 



come out here. I'll bet you can dance. 
Sure you can dance. Now look here. 
Uncle. Here's a fifty-cent piece on this 
chair. You come dancing up here and if 
you dance hard enough you get that fifty. 
That was pretty good. We will try again. 
Walthal, hand me fifty cents : I don't seem 
to have any more change. That's all right ; 
a dollar will do. Uncle, the bribe is going 
up, you'd better get busy or some of these 
colored brethren will beat you to that dol- 
lar. Now that looks pretty good to me. 
"Wait. Everybody stop just where you 



Tom Ince in ac- 
tion wears a gray 
sweater, a non- 
descript hat, 
usually cheivs a 
stumpy cigar, and 
exudes a sort of 
repressed in- 
tensity. " 








^^H 


<ff J 




ut£* 




^H 


t 






■5P< 








' 



SI 



82 



Photoplay Magazine 



are. Miss Gish, come over here. Take a 
look at that. A girl's eyes see a lot of 
stuff I might miss. Does that look all 
right to you? Sure, you're right. I should 
have seen that myself. You are just right. 
Too many of them standing up. A lot of 
them should be sitting down. Sit down, 
vou and vou and vou. Now, how's that, 
'Miss Gish?" 

That's just the way Griffith directs a 
picture. In fact, those words are a literal 
transcription of his remarks while direct- 
ing one of the scenes in "The Birth of a 
Nation," the first two-dollar movie. 



"A picture directed by D. W. 
Griffith is a decidedly gay af- 
fair. Griffith 'kids' the actors 
and spectators and has a per- 
fectly bully time himself" 



There is considerable guile in Griffith's 
easy method. It keeps everybody good 
natured and free from tension. Like most 
men of high spirits, he occasionally tears 
out in a blue streak of rage. During the 
battle scene of the Clansman, there was 
an old man in charge of the explosives who 
kept letting off the charges in the wrong 
places and before the scene was through 
the dynamite was creating a mild commo- 
tion compared with the director. 



/ 1\* 



3j 



i 



Directors 



S3 



One of the most extraordinary things 
about Griffith is his memory. He directs 
all his plays without referring to the sce- 
nario. He reads the script and it is his. 
In "The Birth of a Nation" he carried 
something over 1.500 scenes in his mind. 
The importance of the risk he runs is ap- 
preciated only by professionals. For in- 
stance, if he should send a man into a 
mountain cave without a hat and have him 
emerge therefrom wearing a hat, the whole 
film would be ridiculous. 

Like Mack Sennett of the Kevstonc, Mr. 



times before Griffith was finally satisfied. 

In direct contrast to Griffith. Gtis Tur- 
ner is the most economical director in the 
matter of film of all the big leaguers. 
Turner is the dean of the Universal direct- 
ors. 

They call him "the governor" out at 
Universal City. He is one of the most love- 
able men in the picture business and like 
a great many loveable men is appallingly 
frank. If he likes your work, you can be 
sure he means it when he tells you so, for 
if he doesn't, he tells you straight in the 




"Cecil de Mille impressed me as being the dramatic artist working on his temperament. ' 



Griffith is a prodigal waster of films. He 
takes and retakes as though films grew on 
trees. In "The Birth of a Nation," he 
exposed something over 100,000 feet of 
film and used about 6,000. Sennett eats 
up film in just about this proportion. 

If it were not for infectious enthusiasm, 
Griffith would be a hard man on actors. 
He takes scenes over so many times and 
rehearses them so much. The actor who 
took the part of Booth in the Clansman 
had to leap from Lincoln's box fourteen 



eye that it is the worst he has come across 
in some forty years' experience. 

"The governor" is a type more often 
found in the army than in civil life and 
he has from his people the same devotion 
that old Gen. Chaffee used to have from 
his soldiers. This type of man never has 
to move around or make much noise to get 
results. He is regarded more as a father 
than a boss. 

"The governor" sits on the edge of his 
chair and smokes cigarettes and watches 



84 



Photoplay Magazine 



the drama going on at his elbow. He re- 
hearses a couple of times with the camera 
all ready — then takes. There is no wasted 
time or effort. 

"Now. look here, honey," he says re- 
proachfully to Anna Little, who is about 
as old as his own married daughter, "now 
you know that isn't the way to do it: turn 
the other way. Stop just a minute at the 
door as though you hated to go in. Now 
that's better. Now the camera." 

In an informal way, "the governor" is 
a sort of father confessor to the other di- 
rectors. They know they can come to him 
with their problems and get honest ad- 
vice. 

Turner is a frank believer in melodrama. 
He is an old stage director of thrillers and 
he knows to the wink of an eyelash what 
will "make them holler !" He thinks there 
may be a day when the pictures will be- 
come "high brow" but in the meantime the 
public wants action and action is melo- 
drama. 

"The governor" is one of the few picture 
people cheerfully indifferent to publicity. 
"I never had a picture that wasn't roasted 
by the critics and eaten alive by the pub- 
lic," he says. "I don't blame the critics: 
they don't know what people want : I do." 

In contrasting the output of these two 
major leaguers, one finds that they are 
quite as diverse in their personal traits. 

One might offer a few hints to the sce- 
nario writers who are thinking of hunting 
them down. 

Griffith has a mild mania for "allegory." 
Recently at a performance of "The Es- 
cape," I was the guest of Mr. Griffith's 
assistant. In the middle of the piece one 
of these allegories suddenly flashed upon 
us. It showed a number of young ladies 
in their nighties gazing soulfully through 
the window of a big, church-like room 
upon the surf of the broad Pacific. 

"I dare say," said the Griffith assistant 
confidently, "that only about a dozen people 
in the house really understand that." 

"If you are counting me in that dozen, 
cut down the census to eleven," I said. 
"What does it mean?" 

"Search me." said the chief of staff with 
cheerful candor. 

■ Griffith also is strong for animals. There 
have been only a few Griffith films shown 
on the screen in which a puppy or a kitten 
or a squirrel does not play a part. 



Turner is a great believer in putting 
children in his photoplays. A lot of little 
girls in a boarding school, or two babies 
fighting over a hobby horse are duck soup 
for him. One of his faults as a director 
is that he over-accentuates these features. 
He drags these scenes to a length out of 
proportion to their place in the plot and 
destroys the dramatic unities. "Dramatic 
unities don't worry me any," says the "gov- 
ernor." "You watch the women hunt up 
the theater where those babies are shown." 

A distinguished journalist who recently 
made a tour of the moving picture studios 
in Los Angeles passes this verdict upon the 
directors : "The two directors who made 
the greatest impression upon me," he said, 
"were Griffith and Cecil De Mille. Of 
the two, De Mille struck me as being the 
dramatic artist, working on his tempera- 
ment; Griffith struck me as being a man 
who could have succeeded in any big busi- 
ness but who happened to have veered into 
the picture game." 

De Mille while directing is the exact op- 
posite of Griffith. Griffith' sits still and 
talks through a megaphone and he sits, 
very often, back of the camera. De Mille 
is all over the place. He seems to draw 
the work out of the actors by the' force of 
his personality. Whereas Griffith tells the 
actors what to do next, De Mille shows 
them. A dozen times during the course of 
a scene, he stops the camera and illustrates 
what he wants by acting the part himself. 
Although he has the reputation of being 
a sweet tempered man, De Mille's is the 
final word. He has had the advantage of 
contact with the great theatrical minds of 
this generation. De Mille is probably the 
only picture director now working who was 
"in close" to the big theatrical directors 
of Broadway. He has brought to the mov- 
ing picture business the craft and knowl- 
edge of three centuries. 

Colin Campbell, who directed "The 
Spoilers," is a keen, incisive, abrupt direct- 
or. He has the admiration of his people 
and the bigger the people the more they 
admire him. He is polite, sharp, peremp- 
tory and effective. Mr. Campbell does not . 
confide in the members of the cast. He 
knows exactly what he wants and delivers 
his orders with a precision that gets ac- 
tion. He depends very little upon the com- 
pany to supply him inspirations. His is 
the intellect that shoots to the mark he 



Directors 



S5 



has selected. As a director. Mr. Campbell 
strikes the observer as .being cold, clear 
and intellectual. 

Hobart Bosworth has left the Bosworth 
J ncorporated to go to the Universal. 

Bosworth achieved celebrity as an actor 
and stage director before going to the pic- 
tures, having been leading man for Mrs. 
Fiske and other stars. He is a man with 
the widest experience, artistically and other- 
wise. He nearly always acts in his own 
picture plays ; so this gives his directing 
a peculiar cast. His work as director be- 
comes of necessity something of an affair 
of consultation and collaboration between 
actors. Bosworth is a man of great per- 
sonal charm and his good nature is his 
worst fault as a director. He does not cut 
his films relentlessly enough. The result is 
that in spite of his unquestioned ability 



his best work is sometimes marred by a 
multiplicity of "cut-backs." 

The youngest of the big directors is Tom 
Ince, who is thirty-four years old. His 
studio in Santa Ynez Canon, near Santa 
Monica, eighteen miles northwest of Los 
Angeles, is a place where they take pictures, 
the first requisites of which is a large, iron- 
muscled masculinity. Ince's stories are 
men's stories, pre-eminently. They are 
stories of a conflict broader than the strife 
of arms ; he directs soul-fights. 

Ince is not particularly devoted to the 
happy ending. A great many of his pictures 
are true tragedies; but though almost all 
of them are tales of the soil, they are never 
sordid. Ince in action wears a gray sweater, 
a nondescript hat, usually chews a stumpy 
cigar, and exudes a sort of quiet, at times 
highly repressed intensity. 



Tricking an Audience Into Usin£ Its 
Eyes lor Ears 




The visual approximation oj sound has been undertaken and has met with great success in a new 
Lubin serial, "The Road o' Strife." Sometimes the words spoken by the characters fade in slowly 
and as slowly fade out. Sometimes they appear and disappear in a flash, as when a character sud- 
denly cries, "No!" It is the first attempt to make the eye do the ear's work 



When Shining Stars Were Baby Twinklers 




S6 



In the Years Before the Movies Came 




87 



The Kindergarten Villain and the 




ss 



Nursery Hero Were Much the Same 




TWO men and a girl stepped from 
die entrance of a Central ParkWest 
apartment building one morning in 
Spring, and walking rapidly to 
Seventy-second street, entered the Park 
and disappeared under the wistaria 
arbors in the direction of the Mall. 

As they did so, a boy who had been 
inconspicuously watching from the 
shelter of the porte cochere of the 
Majestic Hotel on the corner, followed 
them. 

The three stopped at a bench in 
front of some lilac bushes. As the boy 
drew near, he noticed the two men in 
conversation with the girl who appeared 
to be listening to them uncomprehend- 
ingly. 

He left the path, and ran silently 
along the grass till he was behind the 
bust) in front of which the three were 
seated. 

As he did so, another man, with the 
appearance of a servant, joined the 
two. 

Mortimer, one of the original two men. 
was talking to the girl. 

"Now listen, Daisy," he said, "ain't Mr. 
Eldridge been a father and mother both to 
you and brought you up like a lady and 
everything?" 

"Yes," she answered faintly, twisting 
her hands in her lap, and looking at Eld- 
ridge, an elderly, benevolent looking man. 

"Well, now, here he wants you to help 
him, and though you ain't been out of school 
a month, the first time he asks you to do 
something for him you won't do it. Do you 
think that's right?" 

"Oh, but I "can't! It isn't right!" she 
murmured pitifully. Mortimer turned 
from her with a snort of disgust. 

The old man took one of her hands in 
his. Crawford, the newcomer, watched him 
with a sardonic smile. 

"I took you from an orphan's home. 
Daisy," said Eldridge. "and gave you a 
home. You seem to forget that ! You do 
as I say !" 

She dropped her head in her hands and 
burst into tears. The men watched her. 
Crawford with an air of discreetly cruel 
amusement. 

With a benevolent leer, Eldridge took 
her arm. 

But with a sudden effort she dis- 
engaged him, ran down the path and 

90 




'Later in the day, Mortimer, Eldridge and Craw- 
Sheriff to give them a pri- 



F r a 



THE STORY OF A WIN 

By George 

Illustrations from 

without a word vanished around a bend. 

"You d — old fool!" snarled Crawford 
at Eldridge. "You ought to know better 
than to try to put a chicken like that up to 
our kind of deals. She'd lose her nerve the 
first thing, anyhow." 

"Aw, shut up," snarled the old man. 
"Mebbe you can think of someone else!" 

The boy vanished from his hiding place, 
debouched out upon the path again at the 
other side of the bend, came out of the 
Park on to Central Park West, and passing 
Daisy, who was walking slowly, entered 
her apartment building ahead of her. 

He took the elevator, got off at the fourth 
floor and producing a key, entered an apart- 
ment at the end of the hall. 

Once inside, he removed his hat. A 




ford went to the little stone jail and persuaded the 
vate interview with Kendrick." 



uds 



NING DOUBLE-CROSS 

Vaux Bacon 

the Essanay Film 

shimmering cascade of chestnut hair with 
golden lights fell over his shoulders. A 
dive into a closet — the quick pulling on of 
a gray skirt and coat, and presto ! The 
boy was no longer a boy at all ; but a girl. 

She was a very pretty girl, too, was Zelda 
Dunbar, with gray eyes, a firm little mouth 
and chin, the firmness of both of which 
were relieved, however, by the soft curve 
of her lips and a hint of a smile that lurked 
in her eyes, even as she made these prepara- 
tions in a determined and, one would have 
thought, if one could have seen her, almost 
frightened way. 

She opened the door of her apartment an 
inch and watched the corridor. Presently, 
the elevator stopped at her floor, the iron 
door opened and shut with a clank, and 



Daisy, her footsteps plainly 
faltering to Zelda's listening 
ears, came slowly down the 
hall. 

As she approached, Zelda 
stepped out of her apartment 
and stopped her. 

"Who — who are you?" the 
girl asked, frightened. 

"I am a friend," said Zelda-., 
"You must not go back to Mr. 
Eldridge's apartment. Come 
in here with me." 

Without waiting for an an- 
swer she led Daisy into her 
apartment, and locked the 
door. 

She fetched a willow valise 
from the closet and put it on 
the table. 

"You are in great trouble, 
aren't you, dear," she said, as 
Daisy stood against the wall 
within, looking at her. 
"Yes." 
"I know. Will you trust me and do as 
I say?" 

Daisy had a sudden vision of old Eld- 
ridge. 

"Yes," she answered. Anything was bet- 
ter than that. 

"Good !" Zelda went to her chiffonier 
and took out a mesh bag from which she 
extracted several bills. 

"Go to Mrs. Mary Dunbar, at Port 
Chester," she said. "Wait!" She sat down 
at her escritoire, hurriedly wrote a note to 
her mother telling her to take care of the 
girl, and then, arm in arm, after a look out 
the window, they went to the elevator shaft, 
descending in one elevator as the two men 
ascended in the other. 

Zelda saw Daisy on a subway express 
bound for downtown before she returned 
to the building. 

When she had regained her apartment, 
she stared at herself for a moment in the 
glass, then cautiously opened the door to 
the hall, and closing it after her, rapped on 
the door opposite. 

Eldridge and Mortimer, who had been 
engaged in mutual recriminations, stopped 
instantly. 

"I guess it's Daisy come back," said 
Eldridge. 

Mortimer, without vouchsafing an an- 
swer, went to the door and opened it. 

91 



92 



Photoplay Magazine 



"What do you 
want. Chicken?" he 
demanded. 

Z e 1 d a laughed 
aloud. 

"Chicken, eh ? " 
she smiled. "I know 
you, 'Squire.' Met 
you one night with 
a little hunch of 
mutual friends 
down on Forty- 
seventh street. 
Don't you remem- 
ber? Little partv 
at the Pekin?" 

A s 1 o \v smile 
spread over 
.Mortimer's h a r d 
face. II e did 
remember — he had 
been prettv well 
"pickled"— but he 
remembered. 

"Oh you was the 
nifty little dame 
that sat at the next 
table to me and 
threw them little 
gray lamps o' yours 
over at us, wasn't 
you?" 

"That was me," 
agreed Zelda. 

"An' you was with Eddie Eisenbach, the 
racing man, wasn't you?" 

He turned to Eldridge. 

"I know the kid, and I've heard tell of 
her. L T sed to be in the Winter Garden 
chorus ; but the work was too hard so she 
decided to go into business for herself. 
What's on your mind. Kid?" 

"Eddie told me this morning you had 
something on and needed a girl to put your 
stuff over and suggested that I come and 
see you," said Zelda. 

The two men looked at each other in 
silence. 

"We got a deal on — but it's a legitimate 
deal. The bulls have busted up everything 
like real money in town this year. A guy's 
got to be awful careful." 

"Well, let's hear about it. I'm with you 
— and I need some money — bad !" The 
girl gave Mortimer a meaning glance. Me 
passed it on to Eldridge who slowly nodded. 
They all sat down in the sitting room, and 




" The boy got off the elevator at the fourth floor 
and entered an apartment at the end of the hall " 



within an hour Zel- 
da had her part in 
their plan. 

II. 

Robert Kendrick 
entered his library, 
threw his hat and 
coat and stick on 
one chair and sank 
into another with a 
sigh. 

Like many a man 
ii\ New York, he 
was bored with a 
surfeit of success. 
Position in this 
world is everything 
— when you haven't 
it. When you are 
born to it, it is 
nothing. 

His valet 
entered. 

"Ah. Crawford !" 
he said, listlesslv 
and in the same 
tone that one, in a 
fit of b o r e d o m, 
might speak to a 
canary. 

The shifty eyes 
of the third man in 
the Park became duly servile. 

"Are you dressing for dinner tonight, 
sir?" he asked. 

"No. I will dine alone — at Rector's, I 
think. I understand the cabaret is amusing 
there this week." 

He yawned at the very thought, belying 
the suggestion that he hoped to be enter- 
tained there. 

"Very good, sir," said Crawford, and 
bowed himself out of the room. 

While Kendrick glanced over a paper 
that had been awaiting him on the library 
table, Crawford rushed to a telephone and 
called up Mortimer and Eldridge. 

"What happened?" he whispered. 
"Everything's O. K. here. 
Rector's for dinner — alone." 

"Do you know- the table?" came back 
Khlridge's voice. 

"Certainly. Usual one when he goes 
there. I'll call up and reserve it immedi- 
ately." 



K's going to 



Frauds 



93 



"Good. We'll be there. The same plan 
we figured on." 

"Who's the girl? Daisy?" 

"No. We've got another." 

A sudden tone of suspicion crept into 
Crawford's voice. 

"Another? Who?" 

"Some kid ! Mortimer knows her. Prettv 
as the Devil. Everything's O. K." 

"All right." Crawford hung up the re- 
ceiver and called Rector's, reserving his 
master's table. 

Things were pretty lively with Eldridge. 
Mortimer and Zelda after Crawford's tele- 
phone message. 

Old "Squire" Eldridge hastily got him- 
self out of his flashy Broadway clothes and 
climbed into a modest suit which shrieked 
the small town department store from its 
padded shoulders to the exaggerated "peg 
top" trousers that were rather amusing on 
an old gentleman of his benign 



appearance. 

At eight o'clock. Kendrick 
walked into Rector's and went 



Without waiting for an 
answer she led Daisy into 
the apartment and locked 
the door." 



to the table reserved for him. He had been 
seated scarcely ten minutes, when another 
man, of a somewhat countrified appearance, 
entered, and asked him if he could sit op- 
posite him at his table in order that he might 
be able to see the traffic on Broadway, which, 
he said in a strong Maine dialect, fas- 
cinated him. 

Smiling, Kendrick gave a ready consent, 
and when the provincial seemed anxious to 
talk, was only too ready to join in conver- 
sation with him, 

Presently an elderly man and a very 
pretty girl, both also undoubtedly of the 
country, came in and sat near them. 

Immediately on seeing them, Kendrick's 
vis-a-vis leaped to his feet and rushed to- 
wards them with outstretched hands. 

"One of my dearest friends I" he cried to 
Kendrick, " — and the prettiest girl in Ben- 
ton, Maine. This is her father, Squire 
Eldridge !" 

Greatly amused, Kendrick in- 
vited them all to' his table, and 
the upshot of the meeting was 




94 



Photoplay Magazine 



a new interest in 
the young million- 
aire's life. 

The g r a y-e y e d 
girl with the chest- 
nut hair cured him 
of his boredom and 
gave him a prob- 
lem in return ; but 
was as evanescent as 
a sunbeam or a rain- 
■bow. and no matter 
to what or where he 
invited her, "Fath- 
er" had. to come 
too. The very sim- 
plicity of her fas- 
cinated him. 

Then, one eve- 
ning, without any 
prea m b 1 e, old 
"Squire" Eldridge 
and his "daughter" 
called on Kendrick •• 
and told him they 
were leaving for 
Benton. Kendrick 
noticed that the girl 
seemed distraught, 
and it was with a 
peculiar feeling of 




"God!" he gasped, "They're after him. When 
they find out the truth it'll be the end of us!" 



dislike that he escorted her to the door of 
his home and saw her walk away down 
the street beside her "father." 

He returned to his library and tried 
to smoke a cigarette. When half of it 
was finished, he threw it away and paced 
the room nervously. Suddenly he 'heard 
his doorbell ring. A moment later, Zelda. 
white and frightened looking, appeared 
with a grip. 

"What— !" he began. 

"Oh, Mr. Kendrick!" she begged. "I 
don't know what to dp. 1 am terribly un- 
happy. I could think of no one to come 
to but you. My father insists on my marry- 
ing Mr. Mortimer — and I don't want to." 

Kendrick had made his place in the world 
by quick- decisions. 

"You shan't marry him," he said. 

"I have friends in Greenville-, Massa- 
chusetts. Will you take me there?" 

"Certainly," he said. 

There was no further hurry or fuss. He 
found that Crawford had gone out on an 
errand, and at Zelda's suggestion left a 
note for him telling him that he had left 



town on private 
business. 

Then he packed a 
few necessaries into 
his own grip and 
the two left for 
( irand Central 
where a New Haven 
train was leaving 
for Greenville in 
twenty minutes. 

T h a t evening 
they arrived, and 
put up at a little 
frame hotel across 
the narrow street 
from the station. 
Zelda told him she 
was too tired to go 
anywhere and asked 
to rest there over 
night. He registered 
her at the hotel, and 
took a room himself 
not far from her. 

Her parting re- 
quest, "Come to my 
room at ten in the 
morning and get 
me," was the last 
thing he thought of 



before he fell asleep. 

He did not know that the "Squire's" last 
word to his "daughter" before she left him 
to return to Kendrick's house in New York 
had been : 

" — Remember, our train arrives at ten- 
five in the morning." 

At eight o'clock Kendrick was up and 
had breakfast. At exactly ten he knocked 
at Zelda's door. She received him in a 
modest but charming decollete, and invited 
him to sit down and have a cigarette while 
they talked. 

He did so, making himself at home, 
charmed by her naive simplicity. 

Suddenly she rushed to the window and 
lifted it. He heard a train pull into the 
station across the street and thought she 
had seen someone she knew emerge from 
it. To his amazement, she suddenly began 
to scream. 

He rushed to her. asking what the mat- 
ter was ; but she only screamed the louder, 
and struggled when he tried to quiet her. 
As he held her in his arms, there was a 
sudden rush of footsteps outside the hall 



Frauds 



95 



and she became quiet almost immediately. 

He released her. Reaching into the neck 
of her robe, she produced a check on his 
bank filled out for twenty thousand dollars 
and lacking only a signature. 

"Sign that, and everything will be all 
right. Otherwise, I will have you arrested 
under the Mann law for bringing me from 
New York to Massachusetts," she said 
calmly. 

He looked at her. 

"So that is your game," he replied 
quietly. 

"Yes;" but she looked away from him 
as she said it. 

"The money is nothing to me," he re- 
marked. "I could give you a hundred thou- 
sand and not feel the lack of it ; but the 
two scoundrels who influence you are not 
going to profit by making such use as this 
of a girl like you. Call them in !" 

She screamed again. 

There was a banging on the 
door. Kendrick opened it. 

"Squire" Eldridge, Morti- 



" That evening they arrived 
and put up at a little frame 
hotel across the narrow street 
from the station." 



mer, Crawford and several villagers were 
without, with the Sheriff, who had been 
hastily summoned. 

"There is the scoundrel !" cried the old 
man. "He stole my little girl from me 
in New York last night and brought her 
here. I trailed them by a note I found 
in the butler's possession when I went to 
say good-bye again and thank him for his 
hospitality in the city. The hypocrite ! 
The scoundrel !" 

The old man seemed ready to faint with 
emotion. 

Kendrick, who made no resistance, was 
seized by the Sheriff who was in the crowd, 
and taken to jail. 

Outside the room, after he was gone, 
Zelda was congratulated with laughter by 
her fellow conspirators for her cleverness. 

Later in the day, Mortimer, Eldridge 
and Crawford went to the little stone 
jail and persuaded the Sheriff 
to give them a private interview 
with Kendrick, who laughed at 
them to their amazed chajmn, 




96 



Photoplay Magazine 



when they asked him again to sign the 
check. 

That evening, as they were planning new 
arguments in Eldridge's room in the hotel, 
they heard the murmur of a great crowd 
outside their window. As Zelda looked out, 
a man shouted : 

"Hang the brute! We'll teach the mil- 
lionaires to respect the honor of women!" 
and his words were echoed by a roar — the 
vast growl of a many-throated beast. 

Eldridge rushed to the telephone. 

"God!" he gasped, "They're after him. 
When they find out the truth — if they get 
him— it'll be the end of us!" The two 
men got their hats and fled downstairs. 
Zelda looked out and saw them presently, 
gesticulating and talking to the ringleaders 
in the street, who pushed them out of their 
way. 

She returned to her chair and sat for a 
moment, overcome with horror ; but only 
for a moment. A minute later she had on 
her hat and coat and was running down a 
back street to the jail as fast as she could 
go. Crawford had fled to the station and 
caught a train out of town. 

Mortimer and Eldridge, however, antici- 
pated Zelda at the jail and persuaded the 
Sheriff, after telling him what was hap- 
pening, to let Kendrick out of his cell so 
that they could talk to him again, promis- 
ing in return to help in defending the jail. 

For the last time they begged their pris- 
oner to sign their blank check, promising 
to defend him against this unexpected 
catastrophe with their lives. Kendrick 
laughed at them. 

"If I am killed your lives won't be worth 
any more than mine," he said. 

Mortimer whipped out a revolver. 

"Sign the check!" he growled. 

Eldridge produced another. 

Kendrick pondered for a second. He 
noticed that old Eldridge was directly in 
front of an open cell. Looking up through 
his lashes, he saw Zelda in the hall out- 
side. She came slowly to the door, and 
made him a quick sign. 

With a sudden intuition, he leaped to his 
feet, hurled the old man headlong into the 
cell, locked it and leaped for Mortimer. 
With an effort, . Mortimer threw him off, 
and was about to fire his revolver, when 
in a flash Zelda was upon him from 
behind and held his arms pinioned to his 



sides just long enough for Kendrick to de- 
liver a crashing blow on his jaw and send 
him sprawling. In another second, he had 
him in another vacant cell and the door 
locked. 

Without the roar of the mob grew louder. 

Zelda went out on the steps of the jail. 
A cheer greeted her. For a moment her 
tongue was paralyzed, then she said : 

"Gentlemen, I appreciate your intense 
feeling for me; but I am going to confess 
to having been a little unkind, though it 
wasn't my fault. This whole affair was put 
through for the purpose of 'getting the 
goods' on a couple of old blackmailers, 
Eldridge and Mortimer, who are now locked 
up within. Mr. Kendrick is, I assure you, 
innocent of everything but a desire to be 
kind to a girl who represented herself to 
him to be in trouble. I am an agent of the 
United States Government !" 

And she showed them a tiny badge on 
the inside of her coat while she handed the 
Sheriff her credentials. 

The tension relaxed like a released 
hawser. 

The desire for vengeance was gone. No 
one apparently thought even of "getting" 
the two who were responsible. 

"By heck, we'll give the little gal a cheer 
anyhow fur bein' so clever !" came a voice 
from the mob, and with another hearty 
cheer, they dispersed, laughing good 
naturedly at themselves. 

The Sheriff escorted Zelda to the two 
cells where Mortimer and Eldridge were 
imprisoned. 

Kendrick met tnem, took her hand, and 
together they walked into the Sheriff's of- 
fice, while Mortimer and Eldridge, their 
knees shaking, looked after. 

"Well, that was some catch, Kid !" said 
the Sheriff, heartily to the suddenly re- 
vealed detective. 

"Thank you !" said Zelda, and unaccount- 
ably blushed. 

"And your last," added Kendrick. 
Zelda's eyes stole up to his. 

"Why?" she murmured. 

"Because you caught me and I'm going 
to take a long ocean trip soon — in your 
charge !" 

And he just naturally up and kissed 
her right there in front of the Sheriff, and 
would vou believe it? — She kissed him right 
back! 



A Movie Dixie Queen 



f~\ N E of Essanay's 
^■^ latest * recruits 
is Miss Evelyn 
Greeley, a pretty 
Southern girl, 
whose beauty and 
histrionic talent 
marked her unde- 
niably for stage suc- 
cess, even if she has 
not decided to enter 
the wider field of 
the photoplay. Miss 
Greeley has the col- 
oring, the poise and 
the bearing of the 
true Southern 
beauty of classic 
tale and fable. She 
has still some dis- 
tance to go before 
she will emerge 
from her 'teens. 
Miss Greeley's pref- 
erence is for typic- 
ally American plays. 
She loves roles in which the spirit, freedom 
and splendid poise of the typical American 




Evelyn Greeley 



girl are exhibited — 
and she is intensely 
anxious to play 
some big emotional 
parts. She has al- 
ready been seen, to 
advantage, in sev- 
eral excellent re- 
leases. 

The Southern 
type of beauty is 
one which because 
of the dark eyes 
and hair, the white 
skin and the intense 
emotionalism of the 
Southern tem- 

perament, is grow- 
ing more and more 
in favor on the 
screen. 

The South is, 
after all, the home 
of the most ro- 
mantic of our pop- 
ulation, and it is 
therefore no wonder that the ranks of the 
artists are largely recruited from it. 



Still, She Loves Him 

Mrs. Newly-Wed 

Shook her dainty head 

And gave a sigh, 

With downcast eye. 

"My hubby drinks, oh, yes !" she said ; 

"And gambles, too, oh, me ! oh, my ! 

He even robbed a widow once, 

And stole a girl 

Whose saucy curl 

Had caught his fancy in its whirl. 

He stopped a mail train on its way. 

He — killed a man — the other day ! 

But still, I love him — for you know 

He is a villain in the movie show !" 



I'm Tired 

I'm tired washing dishes, 

I'm tired scrubbing floors, 
I'm tired shining stove-pipes 

And stopping babies' roars. 
I'm tired tending fires, 

I'm tired cleaning stairs, 
I'm tired dusting things 

Like heavy parlor chairs. 
I'm tired doing washings, 

I'm tired mending hats, 
I'm tired doing housework 

That goes with furnished flats. 
I'm tired doing cooking, 

I'm tired mending clothes, 
But I'm not tired seeing 

The moving picture shows. 



A Floyd Picture 

The excellent photograph of Miss Pearl 
White in the art section of Photoplay 
Magazine for May was by Floyd, New 
York photographer. Credit for this pic- 
ture was inadvertently omitted. 



Precipitated 

£\ H, I like to go to the picture show, 
^^ Which sure is a trouble healer ; 
But I hate like sin to be ushered therein 
In the midst of a seven-reeler. 

97 



Mary Fuller 




"She has the most thrilling eyes that one can ever hope to see, and her voice is as great a wonder as her 
eyes. It is as soft as the murmur of a June breeze. " 



9S 



The Girl on the Cover 



By Colgate Baker 



TH E V say that 
some of M a r y 
Fuller's ancestors 
were born 'neath 
ltalv*s sunny skies. If 
such be true or no, I 
know not ; but this I 
know is so — she has the 
most thrilling eyes that 
one can ever hope to 
see ; eyes that set one 
a-dreaming of Venice, 
and of the days when 
Rome was mighty and 
her dark-eyed maids 
walked in soft mel- 
ancholy down marbled 
avenues, thinking o f 
some tall sons of Rome 
afar upon the frontiers 
with the legions. 

There is a mystery 
that doth hedge 'round 
the stars of the studio 
even more than that 
which hedges 'round the 
stars who are the foot- 
light favorites of Broad- 
way, for it is possible to 
sic the stage stars walk- 
ing and talking before you in the theaters ; 
but the film grants its stars a privacy and 
an aloofness which is truly starlike. 

I called on Mary Fuller in her dressing 
room. Without, there was the noise- of 
changing scenes. Croups of actors and 
actresses, cleverly yet simply made up so 
that they did not appear made up at all, 
vet were utterly unlike themselves when 
out walking of a Sunday morning, had 
been standing and walking about watching 
directors producing a scene here and a 
scene there, as I had entered the studio 
building from the capacious grounds with- 
out.* They had given me in a moment the 
"atmosphere" of these, play-people who are 
the friends and never-failing delight of 
one hundred million Americans. — a people 
dearest to those who understand them 
best : the real Bohemians in the best sense 




To express humanity one must be able 
to see humanity. " 



of the world ; a people 
whose business it is to 
make others happy ! 

And such a one is 
Mary Fuller. She 
greeted me with a 
friendly smile and hand- 
shake, both given with 
the naive heartiness of a 
person whom one knows 
is ever glad to make a 
new friend. 

Her voice, let me say, 
is as great a wonder as 
her eyes, and it is to be 
regretted that her public 
cannot hear her speak. 
It reminds one of Italy 
as do her eyes, for it is 
as soft as the murmur of 
a June breeze through 
the woodlands of the 
Apennines, with the 
underlying musical note 
which one hears, some- 
times, on nearing a 
waterfall through for- 
ests. 

"I suppose," I said, 

taking a comfortable 

looking wicker chair she indicated for me, 

"that your life is entirely bound up in your 

work for photoplays, is it not?" 

She laughed. 

"Oh, no. I find many, many things to do 
besides work. And yet I ought not to say- 
that, for many of the things I do beside 
my work in the studio are really quite as 
hard to do as what I have to do here. I 
learned to play the violin and the piano 
when I was a little girl. "They were hard 
to master ; but I have learned another thing 
since I grew up that has proven quite as 
difficult — I should say, a great deal more 
difficult — than either of them, and that is 
writing. Do you know, I used to marvel 
how in the world you writers wrote — how 
on earth you could think of the things you 
do : how you could write a story. I would 
say to myself, 'Now, if I were to start a 



100 



Photoplay Magazine 




story, I would — let me see — well, have my heroine 
meet with a motor accident. Then she is picked up 
unconscious from the road by the hero, who is an 
eccentric young millionaire 
wearv of conventionalities. 
He carries her to his house 



"There is an 
old saying t 
'Hard writing 
makes _ easy 
reading' I 
doubt if any- 
one could ever 
realize how 
I struggled to 
learn the art 
of expressing 
my ideas in 
language. " 



and has his dear old white-haired house- 
keeper take care of her, then — ' Ah, that 
was always it. What then? With poised 
pencil I would find myself facing reams 
upon reams of white paper without a 
single thought in my head to be put down 
upon a single page of them." 

It was my turn to smile. 

"You solved it, somehow," I said, "for 
I myself have read several stories that you 
have written, and they are anything but a 
struggle to read, so they couldn't have been 
so terribly difficult to write." 

"Well," she answered, "there is an old 
saying — 'Hard writing makes easy reading, 
you know.' I doubt if anyone could ever 
realize how I struggled to learn the art of 
expressing my ideas in language, and how 
I worked, and observed and read and took 
every opportunity to go about in order to 
train myself to 'see things' and to make 
myself think." 

We talked for several minutes on such 
topics. Miss Fuller is a young woman 
with a keen and active mind, as I quickly 
discovered, and her determination has re- 
sulted in her acquiring a fund of interest- 



ing and comprehensive knowledge of the 
world and the people in it that is wonder- 
ful. 

Incidentally, she is a splendid conver- 
sationalist. 

"What do you think of picture acting 
as a career for a girl to-day?" I asked. 

"It depends on the girl," she replied ; 
"she must have real talent and keen men- 
tal perception. Not many girls are qual- 
ified to make a success of.it. Natural tal- 
ent is the first requisite; intelligence and 
a quick brain the next. 

"The technique of acting for the screen 
is more intricate than most people think. 
But no amount of technique will insure 
success without natural talent for expres- 
sion. One must act with more feeling and 
sincerity than is required on the dramatic 
stage. 

"The producer is the most important 
factor in picture making to-day, and there 
are only a few good producers in this 
country. We need more, for the producer 
must do fifty per cent of the work of pro- 
duction and all the direction. There must 
always be a master mind." 




Jesse L. Lasky 

and several of his associates. At Mr. Lasky's right sits Lolita Robertson (Mrs. Max Figman). Her 
husband stands at her side, hat in hand. The big man in the dark suit directly behind Mr. Lasky 
is Theodore Roberts. Robert Edeson, in cowboy guise, stands beside Mr. Roberts, and at the end of 
the line, to the reader's right, is Cecil De Mille, principal Lasky director. Bessie Barriscale, now 
ivilh Thomas Ince, sits at Mr. Lasky's left. 

Photoplays of Tomorrow 

By Jesse L. Lasky 

A PROPHECY OF COMING CREATIVE 
AUTHORSHIP FOR THE FILM 



OF all the problems confronted by 
motion picture manufacturing, the 
most difficult to answer definitely 
and successfully is. "Where are the 
scenarios and ideas of the future coming 
from?" 

As a consumer of narrative material, the 
motion picture has the printing process 
beaten by a million miles and leaves the 
poor old cumbersome stage absolutely out 
of sight around the corner. Enough real 
plot goes into a thousand-foot picture, 
which the audience sees and absorbs in the 



course of fifteen minutes, to make a full 
two and one-half hour drama in a Broadway 
legitimate theater. Enough material goes 
into a Lasky Eeature to fill about two novels 
and a large additional section of the book- 
case into the bargain. 

In making plays from novels the rule is 
"Cut, cut, cut." In making photo dramas 
from novels the cry is "Put in more detail 
and action." And when you go to make 
a photo drama from the original every-dav. 
legitimate play, you have got to add material 
enough to double or treble the original 



mi 



102 



Photoplay Magazine 



manuscript. You have got to show all the 
things that the characters tell about in 
addition to showing all the things done on 
the stage, and then you have got to invent 
new things which happened before the play- 
began and more things which happened 
after it was over. Then you ■ may have 
enough. 

It may be roughly estimated that in this 
country alone there are more than 150 reels 
of narrative negative produced and released 
every week. The amount of ingenuity, 
scheming and inventing of new material 
and re-hashing of old material necessary 
to provide this amount of material is ap- 
palling when one stops to consider it. Every 
country under the sun must be searched for 
localities that have not been "used to 
death." 

I remember, not very long ago, seeing in 
"Life" a rhyme telling how a little boy 
had "seen it at the moving picture show." 
He had seen everything from the North 
Pole to the South Pole, all the way around 
the Equator and everywhere else. What- 
ever they tried to spring on him, he always 
had the one answer, "I've seen it at the 
movie show." 

It seems physically impossible that this 
mass of narrative should be dumped each 
week upon the public and that the public 
should still preserve a desire for more. 

This brings us to the great problem of 
how are we going to find new stories for 
important features, and how are we to foster 
the interest of the public? The list of 
available successful plays to be used as 
foundations for photo dramas is visibly de- 
creasing week by week. They are used by 
photo-drama producers many times faster 
than new works can be produced. The novel 
which has any real unique situations is al- 
most sure to be a bone of contention 



at the present moment, and all of history 
is literally being consumed. 

There seems to be only one answer as the 
eventual solution of this problem — original 
creative authorship for the film. It is for- 
tunately the case, that if the demand of the 
public is immeasurable, the desire of human 
beings to try and be authors is equally limit- 
less. Probably nine educated people out of 
every ten try to write a book or a story or a 
play some time before reaching twenty-one 
years of age, and it is the good fortune of 
the photo dramatist that the happy idea 
coming to the untutored mind and roughly 
transcribed may be made effective for the 
camera regardless of the form in which it 
is transmitted to the producer. 

In other words, the limitations of literary 
expertness in workmanship do not exist, and 
the wise photo-play producer may absolutely 
draw to himself, from the world at large, 
strange masses of narrative out of which 
can be culled the necessary ideas and situa- 
tions to fill the insatiable demand. 

Moreover, the making of the photo-drama 
is as much the work of the director as the 
man who creates the original story. Hun- 
dreds of plots have now been used over and 
over again, and some times these same plots 
have been much more effective than at other 
times. The secret of success seems to be 
turning in the direction of genuineness and 
simplicity. When all the real or assumed 
sensations have been exhausted, we come 
back to the inexhaustable interest of sincere 
human nature. 

As the art of the photo-drama progresses 
it does not tend to the old straining for 
effects but to the more refined and worthy 
treatment of suitable subject matter, using 
only the scenes that are truly called for by 
the plot and making the characters realistic 
reproductions of actual life. 



FANIA HAD TO SWIM 

ETANIA MARINOFF, one of the lights 
*■ of Times Square, has returned to New 
York after a sojourn in Florida where she 
was part and parcel of a new photoplay 
"The Secretary." In the course of the 
play Miss Marinoff had to swim the St. 
John's river at night. It was a bit chilly, 
but she returned to Broadway none the 
worse for the experience. 



LITTLE BRITISHER KEYSTONING 

DOLLY MORAN, English comedienne, 
* late of big time vaudeville, has joined 
Mack Sennett's Sunshine club at the Key- 
stone studios in Los Angeles. 



UY COOMBS is busy in Florida with 
'Kalem Civil War scenes these davs. 



Mollie offAe Movies 

Her Correspondence: Compiled &y — ■ 

Kenneth HcGaffey 



Illustrated by Maud Martin Evers. 

FIRST REEL 



Grundy Center, la., March 5. 

DEAR CLARA BELL: 
I guess by this time, you have 
seen in "The Weekly" that I have 
won the prize as the most beautifull 
girl in Dubuque county. It came as an 
awful surprise to me. I sent in my 
photograph but you could of knocked me 
flat with a feather when I found that I 
was the winner. I 
didn't know I was 
so swell. If I had 
known I was to of 
won, I would have 
had a good photo- 
graph taken that 
looked like me. As 
it was, Hicks 
jabbed my head into 
one of those iron 
wishbone things, 
and I nearly choked 
to death. 

The first thing I 
knew about winning 
the prize was when 
someone rushed into 
the parlor of Mar- 
tha Williams' home, 
wher<5 us members 
of the Apollo Dra- 
matic Club were re- 
hearsing "The Lady 
of L y o n s," and 
right in the middle 
of my big scene, 

congratulated me. It certainly w a s 
some surprise to certain persons you and I 
know, who think they are beautifull to gaze 
upon. I guess you know who I mean. Clara 
Bell. There are a lot of our most fashion- 
able set. girls that thought red hair was hor- 
rible, that have just chewed their finger- 
nails down to the quick since they heard. 
My picture is to be in one of the Chicago 



'I'm getting so I tear 
I have in my 
I see a 



papers, Sunday, as Dubuque county's fair- 
est flower. 

Oh, I forgot to tell you what the grand 
prize is. I have three choices. A life sub- 
scription to "The Weekly" — a trip to Chi- 
cago — or ten dollars, cash. Now, I am 
going to tell you what I am going to do and 
I don't want you to breathe a word of it to 
a soul. I am going to be a moving picture 
actress and act out 
before the camera. 
I saw an advertise- 
ment in the paper 
the other day "How 
to be a Mary Pick- 
ford in Ten Lessons 
for Ten Dollars." 
and I am going to 
send the ten I won 
as the prize a n d 
take the course. 

I have sold tick- 
ets now at this old 
"Bijou Dream" for 
four months and am 
getting so I tear off 
a strip of whatever 
I have in my hand 
every time I see a 
dime and would you 
believe it my neck 
is so stiff from try- 
ing to watch Char- 
ley Chaplin and sell 
tickets at the same 
time I have to rub 
it with linnament every night. 

Mr. Gotlieb told me just yesterday be- 
tween the two reel Maurice Costello and 
the one reel Helen Holmes that I would 
make a grand movie actress. Although, 
through jealousy. I only get maid parts 
with the Apollo Dramatic Club, both father 
and mother say I am a grand actress and 
Uncle Will calls me his little Sarah Bern- 

103 




off a strip of whatever 
hand everytime 
dime. " 



104 



Photoplay Magazine 



hardt. I stood on my head one night over 
at Mary Wilson's, and practiced turning 
cart wheels at the Y. M. C. A. gym, and 
after I rehearse a while jumping off of 
bridges, and stopping runaway horses and 
take this Ten Dollars worth of Mary Pick- 
ford, I am going out to California and ac- 
cept an engagement. 

Of course, I get good money in the busi- 
ness end of the moving pictures (six dollars 
every week, no matter what comes in), but 
my soul yearns for the artistic. Mr. Got- 
licb can just sell his own tickets. 

Oh, Clara Bell, won't it be just grand to 
be out there in California where all the 
moving picture actors and actresses live and 
hob nob with them and be their equal ! 1 
can hardly wait for my first lesson. I have 
enough money saved from my salary selling 
tickets at this here old film bazaar to take 
me to California, and you bet I will have 
some more saved up before I leave. 

Of course, I don't expect to be a five reel 
feature at first. I think I will have to start 
as a one reel comic and work my way up 
reel by reel. 

You know that I have been seeing so 
many pictures since I been working here, 
that even every one of the "passed by the 
National Board of Censors" seems to m.- 




like a dear friend, even though the censors 
do cut out the best parts. 

Mr. Gotlieb tells me it is no sinch being 
a moving picture actress and I can see that ; 
but I am strong and willing. Didn't I 
work for a month in the Palace Hotel din- 
ing room and goodness knows you have to 
be strong to lug in what those drummers 
order and willing to work for nothing ex- 
cept fresh remarks. 

They tell me that Mary Pickford gets 
four thousand dollars a week. I know 1 
am going to be alright, but until I am able 
to show the Directors how good I am, I 
am willing to take only a thousand a week 
and pay my own street car fare to and from 
the studio. 

Will write and tell you all about the les- 
sons, but must close now because here comes 
a dime. 

Love, 

Mollie. 



'Hicks jabbed my head into one of those iron 
wishbone things and I nearly choked to death. " 



En Route, Apr. 6. 

DEAR CLARA BELL: 
Well, here I am bound for Cali- 
fornia, and believe me, I had an awful 
time getting started. 

In the first place, I certainly had my trou- 
bles getting the ten dollars out of "The 
Weekly." They told me how much good a 
life subscription to the paper would of done 
and when I wouldn't take that, they wanted 
to give me a round trip ticket to Chicago on 
some excursion, but me for the boundless 
West. 

When I finally got the ten — mostly in 
small change — I sent right away to the 
moving picture school man and got my 
whole Mary Pickford course in one ship- 
ment, collect. The lessons are hard but 
certainly complete. I feel that they have 
done me a world of good, even if they did 
nearly kill me. 

The first thing the lessons taught was to 
get accustomed to act before the camera. 
Any camera would do, the book said, so I 
took brother George's Brownie. Then the 
book said not to look into the lens while 
acting. You could not act and do that, 
Clara Bell, because you have to peek into 
a little hole to see the lens and you couldn't 
move your arms or nothing. There was a 
long chapter telling how to be familiar with 



"Mollie of the Movies" 



105 



any role — from a street waif to the pamp- 
ered daughter of wealthy parents. 

You know what a chance 1 had rehears- 
ing with Pa as a millionaire parent when 
he shucks his shoes and coat as soon as he 
strikes the house after work. I even had to 
go over to Cousin Esther's to rehearse my 
work girl scenes hecause Mother has a weak 
heart and if she saw me do anything around 
the house, the shock might injure her for 
life. 

Another lesson taught me how to rehearse 
for death defying stunts. That's where I 
used all the arnicka and am sure lucky to be 
here to tell the tail. When I got up after 
leaping from that rapidly moving milk 
wagon, I nearly decided to forsake my ar- 
tist career, and go back to work. There 
was nothing nowhere in the lessons about 
using arnicka, but I guess I did not step 
out of the character by using it as I was, 
according to the book, supposed to be car- 
ried to a hospital and there nursed back to 
life, by a dashing young doctor, with an 
automobile and a mission. 

Finally, I finished all my lessons and 
sent a quarter more to the professor and got 
a handsome diploma tied with blue ribbon. 
The letter with it said all that I had to do 
was to show it to any picture director and 





"I sit right out on the observation platform and 
eat the lunch mother put up for me. " 



"When I got up after leaping from that rapidly 

moving milk wagon I nearly decided to 

forsake my artistic career." 

I would know right where I belonged. 

When i had enough money saved up for 
my ticket to California and some left over, 
1 just up and told the folks that Fame was 
waiting me and left them flat. The whole 
town was down, as usual, to see No. 6 hesi- 
tate ; mother cried a little; I kissed the 
total population of Grundy Center good- 
bye : Bill, the new conductor, waved his 
hand and I was off to pastures new. 

Of course, Grundy Center is an up-to- 
date burg, as everybody knows, but so that 
I would not be taken for any farmer's bride 
or boarding school Miss, I sent right to 
Chicago and got the latest Paris creation 
from Sears-Robuck. You won't believe me 
when I tell you that the outfit, including 
the hat of course, cost me $15.85 without 
express charges. My dear, it is a silk sand- 
colored suit, very full skirt, thank heavens, 
and a broad crimson belt. The hat matches 
the belt and I wore black low shoes and red 
silk stockings. The only way that I can 
tell you how it becomes me is to simply say 
that everyone turned to look as I walked 
down the aisle of the train. 

I am travelling right in the sleeping car 
all the way. After you go to bed they take 



106 



Photoplay Magazine 



the stairs out. This paper I am writing on 
is free. Father bought me the Pullman 
ticket as a birthday present so all I had to do 
was to pay my railway fare. I am a regu- 
lar traveller by now and sit right out on the 
observation platform and eat the lunch 
Mother put up for me — fried chicken and 
everything. They have a cafay on the train 
but I only go in there for breakfast, and 
even then, you have to buy more than a 
quarter's worth whether you can eat it or 
not. 

I met a couple of nice travelling gentle- 
men on the train. Nothing like the fresh 
drummers that sit with their feet up on The 



Palace Hotel porch railing and sigh for the 
gay life of Dubuque. They were real kind 
to me and pointed out all the points of 
interest and when I told them I was going 
to be a movie star, one said he'd get more 
fun out of seeing me act than Blanche 
Sweet. 

We are travelling through a part of Cal- 
ifornia now. and will be in Los Angeles in 
a couple of hours, so I will close and write 
you as soon as I get settled. We are going 
through orange groves now and the snow 
must be all gone as I haven't seen none 
under the trees. Love, 

Mollie. 



Caruso as a Camera Man 



. ■ " i •''*• 




l'liulo by Italic 



Enrico Caruso, who before he became the most famous operatic tenor in the world ivas a soldier in 

the Italia?! army, is here shown engaged in his latest activity, taking motion pictures; a new vocation 

which lie has taken up with the interest and attention to detail of a true enthusiast. 




een an J Heard at ike Movies 



Where 'millions of people — men, women and children — gather daily, many amusing and 
interesting things are bound to happen. We want our readers to contribute to this page. A 
prize of $5.00 will be given for the best story each month, and one dollar for every one printed. 
The stories must not be longer titan 100 words and must be written on only one side of 
tlie paper. Be sure to put your name and address on your contribution.^ Think of the funniest 
thing you have ever heard at the movies and send it in. You may win the Jivc-dollar prize. 



THIS GETS THE FIVE DOLLARS 

FIRST GIRL : "What made you so late setting 
here tonight; Maine?" 

Second Girl : "Oh, I was arguing with Mother. 
She wanted me to go to the hospital tonight to see 
Father ; but I just told her I liad to come down to 
the movies to see 'The Perils of Pauline' or I'd lose 
the run of it." 

lira. r. j. o'Conncii, Washington, n. c. 



go iii and find her children's 
given, and a moment later, her 
within, shouting : 

"Sarah, Harry ! Come here ! 
your dinner." 

Edward Zuckerman, Perth Amboy, N, J. 



Permission was 
voice was heard 

I've brought you 



WHAT TO DO 



LADY OF COLOR in rear of theatre : 
"Yas, I'se got a good pair of glasses now. It 
don't pay to buy store ones. When you needs dem, 
go an' insult an optimist." 

Frank Karanaugh, Atchison, Kane. 



PLACING THE BLAME 

TOMMY ca.ne in crying to liis mother with a big 
bump on his forehead the morning after she had 
taken him to a Biblical photoplay. 
"Who did it, dear?" she asked. 
"God did it," replied Tommy. 
Whereupon he was reprimanded for saying such 
a thing. He listened to the reprimand in silence. 

"But God did do it," lie insisted. "I threw a 
stone up to Him and He didn't catch it !" 

Mrs. Sarah Olivia Fletcher, Glendivc, Mont. 



THE DOMESTIC INSTINCT 

THE new young lady usher 
was shy. 

An old gentleman, who was 
a little deaf, entered the the- 
atre. 

"Shall I show you a seat, 
sir?" she enquired prettily. 

"What ! What !" he de- 
manded. 

"Sh-shall I sew you to a 
sheet?" she repeated. 
Miss Hilda Jacobson, Provi- 
dence, It. I. 



STIFLED shriek 
theatre. 



G ION I US 

A WOMAN entered a theatre 
and sat down in front of a 
man without removing her 
hat. For five minutes, he 
fumed in silence, then took his 
own hat out from under the 
scat and put It on. 

Immediately Bhouts of — 
"Take off your hat" came 
from all parts of the house. 

And the woman removed her 
hat. 
Mary Relic Payne, Atlanta, (la. 




NERVOUS 
from the aisle of the darkened 

"O-O-oh ! What is It?" 

Bored masculine voice from 
the end seat — 

"When you're through 
clutching my hair, Madame. 
I'll get up and let you pass in." 
Mrs. Nevil Hopson, Milwaukee, 

Wis. 



THERE WAS ONE AT HOME 

ALL RIGHT 
TT happened during a showing 
*-ot "Caprice" featuring Mary 
Piekford. Little Mary had just 
been accidentally shot in the 
arm by the hunter, and upon 
seeing what he had done, he 
started to run at full speed. 
The little five year old boy In 
front of me exclaimed : "Oh, 
Mamma. Mamma, he's going 
after the peroxide bottle." 
Ruhn Rathbun, Fait Claire, 
Wis. 



THE NEIGHBORHOOD 
THEATRE 

ABOUT six o'clock in the 
afternoon a woman came 
up to the doorman of the the- 
atre and asked if she could 



First Girl, boastingly, after having 
seen a love-lorn heroine om the screen, 
•'I'd like to see the man I'd love, honor 
and obey.'" 

Second Girl, sweetly, "So would I, 
dear. It seems to me you've been wait- 
ing long enough." 

X. Reese, Xeicarlc, O. 



EXPERIMENTAL ARITH- 
METIC 
\XTILLIE had been to see the 
vy photoplay. Pigs is Pigs. A 
human encyclopedia sat next 
to Willie during the play. 

The next evening, after he 
had returned from school, his 
mother discovered him hold- 
ing his pet rabbit by the ears 

107 



108 



Photoplay Magazine 



the while repeating 
hundred ! Two 



and shaking it impatiently, 
iiver and over again : 

"Two b' roar — quick ! Times a 
1/ four- — quick ! Times a hundred !" 

She asked him why be was treating his pet so 
roughly. 

" 'Cause,'' answered Willie, disappointedly drop- 
ping the rabbit, "the man said rabbits, can multiply 
fast as guineas — but I don't lwlieve it" 

S. Raymond Jocclyn, Wichita, Kans. 



TOUGH ON WILLIE 
\X71LL1E came home from school bawling. 
" "What's the matter?" asked his father. 

"Last night when we went to the 'Million Dollar 
Mystery,' blubbered Willie. "I ast you how much a 
million was an' you said. 'A Devil of a lot of 
money' an' teacher ast me bow much was a mil- 
lion this morning an' when I told her she spanked 
me" 

David Stein, Brtdgeton, X. J. 



TELLING ON THE BRUTES 
"IV/r AMMA. do men with whiskers ever go to 
iv - 1 Heaven?" 
"Yes, child. Why do you ask?" 
"Because I never see pictures of angels with 
whiskers." 

"That's because men get there only by a very 
close shave." 

Patrick Kane, St. John, X. B., Canada. 



HAUI) TO TELL 



JOHN RT'NXY appeared suddenly upon the screen 
attired in side whiskers and presenting a strange; 
appearance. 

Piped little Nellie: 

"Is that a man. Mamma?" 

"Hush, child." commanded 
her mother. "I don't know 
yet." 
O. E. Webster, Broakvillc, 

Kans. 



EX PE It I E N CE T E A C 1 1 ES 

TWO Irishmen went to the 
movies. In the photoplay 
they saw a poker game in 
which one man drew to All a 
diamond flush. 

"Shure. Mike." said Pat. 
"that fellow didn't draw a 
diamond." 

"How do you know, Pat?" 
asked Mike. 

"Because be spit on his 
hands when he picked it up. 
Shure, it must have l>een a 
spade." 
./. Allen Johnson, Denver, Col. 



IT CAN'T BE DONE 

WHILE witnessing a per- 
formance of "The Bishop's 
Carriage," in which Mary 
l'ickford stars. I was very 
much amused to hear a tiny- 
tot of four or six years of age 
inquire rapturously, "Mother, 
don't vou iust analyze Mary 
l'ickford?" Man/ Eddy. Cleveland, 




INDEED ! 

ON the screen the husband, with royal airs, was 
ordering his meek little wife about, and she did 
everything he told her to. 

"O look," said little Viola, "the lady does every- 
thing her husband tells her to. doesn't she. Papa?" 
"Yes," replied Papa, "but that is only a pic- 
ture, dearie !" 

Lconore Xadancro, Xeic York, N. Y. 

HE KNEW HER 

WIFE was enchanted with a pretty hat worn by 
Pauline Bush, and suddenly exclaimed : 

"Hubby, I'm In love with 
that hat!" 

To which be replied : 
"If you will promise to re- 
main constant to it for six 
weeks, I'll get it for you." 
Miss L. Warren, Columbus, O. 



Iti, 



THE DRAWBACK 
was during the fire scene. 

'he gallant fire-laddies were 
carrying fair ladies and also 
just plain men down the lad- 
ders. 

Said Cutey: 

"O, Clarence, I toish there 
were lady firemen!" 

"It'd he too expensive," 
opined Clarence. 

"Why?" 

"They would all want silk 
hose." 
G. O. Tilghman, University, Va. 



What are you wearing that blinder 
for, Jakeyt Did you hurt your eye?" 

•'Hush, Maivruss — I'm going to try 
to net into the movies for half price." 
J. G. Pierce, Chicago, III. 



/—, FROM THE HEAVENS 
^X- A TIIHILLING picture was 
"' ** being shown. The house 
was absolutely silent. Sud- 
denly a childish treble piped 
out : 

"Mamma, is papa here?" 
"Yes, dear." 
A pause. 
'Mamma, is sister here?" 



A NEW ONE 

THE beautiful Clara Kimball Young came on the 
screen and stood, bereft of her hero in the play, 
staring out across the theatre with her great, 
mournful eyes. 

"Gawd. Bill," whispered an awed member of the 
audience, "look at them eyes — like a couple o' 
mince pies !" 

F. S. Johnson, Bcrkely. Calif. 



"Yes. dear — hush !" 
Infuriated gruff voice in the rear : 
"Y'es, we're all here — uncles, aunts and cousins !" 
After a painful silence the small voice questioned 
fearfully : 

"Mamma, was that God?" 

Julian T. Harris, Augusta, Ga. 



SHE DIDN'T 

WHEN the Salisbury pictures of wild animals 
were being shown a picture of an eagle was fol- 
lowed by a statement that the eagle takes only one 
mate during its lifetime. 

If its mate dies, it never takes another. 
A dashing widow sitting next to me. after read- 
ing it, turned in a sort of disgusted manner to her 
companion, and said : 

"Well, who wants to be an eagle?" 

D. A. Hanson, Seattle, Wash. 



AH. THERE. SI! 



'"TTIIE Children's Conspiracy" was being shown. 
••■ featuring Mignon Anderson as the village school 
ma'am. 

A small girl of twelve was earnestly watching 
the film and when the fair young lady met her 
sweetheart in the woods, the child eagerly ex- 
claimed : 

"Aw, he must be a committeeman ! He kissed 
the teacher." 

Mrs. Alton Faulkender, Altoona, Pa. 



TAKING IT LITERALLY 

THE caption, "He Sees a Tool in the Discontented 
Workman," flashed upon the screen. 
"Gee," remarked the One Who Knows It All, "he 
must be going to use an x-ray !" 

Miss Jane Hart, Philadelphia, Pa. 

O, THE MEAN THING ! 

TWO girls were having a violent quarrel about the 
identity of the leading man. 
One of them insisted he was Maurice Costcllo. 
Finally, in exasperation, the other turned to her 
and said : 

"Good heavens! If ignorance was bliss you'd be 
covered with blisters !" 

Frances Keil, Xeie York, X. Y. 

DIPLOMACY 
TN front of me sat two youngsters, one about ten 
■•■years old, the other alxjut fourteen. The scene 
was where a man refused to sell peanuts to a Ger- 
man who was broke. Here is the conversation 
between the two youngsters : 

The older one : "Say. .Timmie, why don't they 
sell the Dutchman the peanuts?" 

The younger one : "Aw. I guess it's hecuss der' 
afraid be will t'row de' shells into London." 

Millis Goldman, Brooklyn, X. Y 



At the Stroke of Twelve 



LIFE HAD BEEN GOOD TO THIS GIRL 
BUT WHEN THE CRISIS CAME SHE 
DID NOT RUN FROM THE FIGHT 

By Cora North 

Illustrations by the Edison Studios. 



IRENE BROM- 
LEY, assured, 
superb in her 

insolent defiance 
of time and of most 
of the trammeling 
things of life, was 
checked in Villon's 
outer office. Not in 
her progress toward 
Villon's sanctum; 
that, of course, 
would be resumed 
as soon as Holden 
had fulfilled h i s 
formal task of tell- 
ing the lawyer that 
Miss Bromley had 
come and wanted to 
see him. She was 
checked, rather, in 
that serene indiffer- 
ence of hers to other 
people; checked by 
the sight of a man 
w h o sat, his face 
half turned from 
her, in an attitude 
of waiting. 

"That man looks as if 
a lifetime waiting," said 
self. 

Just then Holden was back. 

"Mr. Villon will see you, Miss Bromley," 
said Holden. 

This time she was checked again, and 
once more by the man who waited. But 
this time he spoke. He started up angrily 
from his chair. 

"You told me he was busy — could see no 
one — " he cried. 

"Please go in, Miss Bromley," said 
Holden, in his low tone. She laughed, and 
obeyed. She could guess Holden's horror 
of anything approaching a scene in that 




"That night he set his watch by this clock— and did 
leave till five after twelve .'" 



he had spent 
Irene to her- 



immaculate office 
that still bore the 
legend: " John 
Villon and Son," 
though John Villon 
had been dead for 
years and the busi- 
ness was conducted 
entirely by Sidney, 
his son. Then, once 
she was inside of 
Villon's private 
office, she smiled — 
and nearly forgot 
the man who 
waited. 

"This is good of 
you, Irene," said 
Villon. He rose to 
greet her ; a smooth, 
well rounded man, 
her senior by a good 
many years, but not 
even middle aged 
himself. "You come 
to cheer me here, in 
this musty old 
office — " 

"I do nothing of 
the sort, and you know it very well," she 
flashed back at him. "I come to bother 
you for money. I've been buying a new 
car, and the bank says I am overdrawn 
again. May I have ten thousand dollars, 
please?" 

For just a second he hesitated. 
"Of course — why not?" he said, then. 
He pressed a button; when Holden ap- 
peared he spoke, briefly. "Draw a check 
for ten thousand dollars for Miss Brom- 
ley," he ordered. "Charge it to her ac- 
count — to the estate, of course." 

There was a minute to fill with talk 
while they waited for Holden to return. 
Irene's thoughts ran back to the man out- 

109 



not 



110 



Photoplay Magazine 



side with the patient, trouble-lined face. 

"Who is that queer soul waiting for you 
— whom you won't see?" she asked. "He 
had the most curious effect on me — he 
looked so tragic, as if he had been waiting 
all his life for something that has never 
come — and never will." 

Villon frowned ; then he smoothed out 
the crease above his eyes and smiled. 

"Poor devil!" he said. "His name is 
Hazard, Rupert Hazard, and you've come 
very close to hitting it. He isn't quite mad. 
or I might be able to get him in some 
asylum. But he has delusions — that he 
has invented a new explosive of tremendous 
power is the latest of them. My father was 
interested in him. I helped him out, a year 
or so ago, with money for his experiments, 
but his idea was hopeless — impracticable. 
He bothers me — I suppose because I 
helped him once he expects me to keep on. 
Ah — here is your check !" 

He took the papers that Holden laid 
before him. There were two ; 
the check, and another slip. 
Villon frowned at this; then 
tore it in tiny pieces. Then 
he signed the check and 
handed it to Irene. 

"There's nothing to keep 
me — you'll let me take you 
to tea?" he said. 

"I'm sorry — I have an en- 
gagement. But I shall see 
vou to-morrow night — at the 
ilance?" 

"I'm not likely to forget 
that." he said. "You'll save 
me a dance or two?" 

"I'll try," she promised, and was 
gone. The man who waited was 
still outside. He stared at her as 
she passed, but she paid no atten- 
tion to him this time. With Vil- 
lon's explanation she had lost her mo 
mentary interest in him. 

It would not be accurate to say that 
Irene had been looking forward to the 
Edgerton dance. Irene's life was too 
full for her to look forward to anything. 
She had emerged only a few months 
before from the chrysalis that mourn- 
ing and girlhood together had imposed 
upon her; now, a full-fledged butterfly, 
she flew from one pleasure to the next. 
She had money in abundance ; Villon's 
function, as the trustee named in her 



fathers will, was to supply such demands 
as she had just made. So she went to the 
dance, chaperoned by the aunt with whom 
she lived, expecting neither more nor less 
than such functions usually meant for 
her — a good time. 

And she was disappointed. For the first 
time life seized her shoulders, so to speak, 
and made her stop and attend to its insistent 
call. It was Arthur Colby's fault. He 
cornered her ; despite all her efforts, he 
proposed to her. And she had not wanted 
him to do that. 

She had had proposals before ; had rather 
enjoyed them, because she cared nothing 
for the men who made them. But for Col- 
by she did care. He was, perhaps, her best 
friend. She liked to play with him ; to go 
about with him. And now he ceased, quite 
suddenly, to appear as her playfellow, and 
became a serious, worried being, who asked 
her to marry him, and begged for his 
answer. She wasn't cold ; she was honestly 



"She laughed 

wickedly as 

she looked 

back at 

Colby." 




A 



At the Stroke of Twelve 



in 



puzzled and distressed. But he could 
hardly have known that; he saw only her 
first flash of irritation, which was followed 
by a tempered amusement. 

"Please — no I" she said. "Don't make 
me settle it, Arthur. I like you — but — oh, 
I won't marry anyone ! Why should I ?" 

And then Villon was bowing before her, 
and she had to go, of course, for it was his 
dance — as his programme and hers proved. 
She laughed wickedly as she looked back 
at Colby. And she was very gracious to 
Villon, for he had saved her from what 
had threatened to spoil her evening. And 
then, after the manner of men, he spoiled 
all he had done to please her. 

For he got her away, and proposed to 
her himself. 

Surprise was the first emotion Irene had 
at this. It took her breath away, almost 
literally. She had never thought of Villon 
that way. Colby, of course, was different. 
But Villon ! She had thought of him, some- 



She really cared 
for him; but he 
could hardly have 
known. He saw 
only the flash 
of irritation." 




how, as in a different generation ; as a con- 
temporary of her father, who had made him 
practically her guardian in his will. Vil- 
lon's proposal was different from Colby's, 
too. The younger man had blurted out his 
words. His passion had caught him up 
and made him clumsy, awkward, in his 
phrasing. Villon was a more confident 
wooer. An older woman would have 
guessed that he was used to having his way 
with her sex ; that he had been the pursued, 
rather than the pursuer. Irene did not 
grasp that ; she lacked the experience. But 
a very sure instinct that was hers because 
she was so wholly feminine warned her. 
There was a quality about her refusal that, 
all at once, she saw had been lacking from 
her unwillingness to listen to Colby. Poor 
Villon, had he only known it, was pleading 
his rival's cause, not his own. 

He was surprised. What was more, he 
was indignant — and showed it. 

"You don't mean that!" he said, to her 
flat "no!" She stared at him. "You 
can't ! I've been too hasty — you need time 
to think — " 

"I do not!" she said. "Please! You've 
been an awfully good friend. I've been 
able to come to you with my troubles — and 
you know I have lots of them, silly little 
troubles. I've liked you — you won't spoil 
that, will you?" 

"I can't take that for your answer!" he 
said, stung. Perhaps he scarcely knew it ; 
certainly only her instinct made her realize 
that it was his pride, not his hurt love, that 
cried out. 

"I'll see you at any time, of course," she 
said, determined to end the little scene. 
"I am sorrier than I can tell you — " 

They were interrupted, fortunately. A 
partner came, to reproach her with the loss 
of two minutes of his dance. She was 
vastly relieved, without altogether knowing 
why. And — when she went home she felt 
that she had not had a good time. Her 
butterfly's wings were a little bruised. Life, 
the world, had touched them. 

All of the next day she was a little afraid 
of what the evening would bring; a little 
oppressed. It was an opera night, but Vil- 
lon had known that, and must have meant, 
she knew, that he w-ould stop in after the 
performance. He had done that before 
often enough ; so, for that matter, had 
Colby. She might have avoided seeing Vil- 
lon, of course. But that she would not do. 



112 



Photoplay Magazine 



It was characteristic of her that she would 
not evade the issue, once it had been raised. 

Villon, as a matter of fact, found an 
excuse for coming home with her. And her 
aunt left them alone after a few minutes. 
They sat in the library, the lights rather 
dim. It was very quiet; only the ticking 
of the old clock in the corner broke the 
silence that fell upon the room when Irene's 
aunt had gone. Until Villon's voice, quite 
changed from its usual urbanity, hoarse — 

"Irene," he exclaimed, "tell me that 
you've changed your mind. You didn't 
mean — " 

"But I did," she affirmed. 

"Listen," he continued, in the tone of one 
trying to be calm. "I haven't wanted to 
tell you this. I wanted to save you. But 
do you know, Irene, that you are in a very 
peculiar position? You have been spend- 
ing a great deal of money — a great deal 
more than you had. You have gone on 
buying things, and coming to me for more 
and more money. I have given it to you. 
But — in fairness to you, I can't keep on 
doing that — unless I have the right to do it. 
You have overdrawn to such an extent that 
it would take the income of several years 
to make up the sum — " 

"What?" Irene was on her feet now, 
facing him, her eyes full of an angry fire. 
"Do you mean that I have been using your 
money?" 

"It was mine, naturally — " 

"How dared you?" she said, tensely. It 
was no girl who faced him now, but a 
woman, suddenly mature. "Couldn't you 
have told me? I asked you just how much 
I had — you let me think that I was well 
within the limit of what I should draw — " 
■ "I wanted you to have whatever you 
needed," he said. 

This Irene could penetrate that pretense, 
as the Irene of twenty-four hours before 
could not have done. 

"You wanted to have me in your power !" 
she said, scornfully. 

"No," he said. "I wanted you to be 
happy. Irene — be reasonable ! I love you. 
For your own sake, I must put our relations 
on a business basis, unless — But, if you 
are my wife — " 

She only looked at him. 

"I'm afraid this has upset you," he said. 
"I will see you in the morning." 

He moved toward the door. She was 
trying to speak, but, though her lips moved, 



there was no sound. She stood swaying as 
he went out. Then a sudden noise startled 
her. She swung about to the other door of 
the room, to see Arthur Colby, his face 
livid, his eyes staring. 

"Irene!" he cried. "I didn't mean to 
listen — they told me you were here alone 
with your aunt! I heard him!" 

He caught her ; he thought she was about 
to fall. But as he held her in his arms 
her arms went about him. 

"Irene!" he said. 

"Yes!" she said, brokenly. ' "Arthur — I 
didn't know! He made me understand — 
I need you — " 

He gave a little choked cry of triumph. 
For a moment he held her close. Then he 
relaxed his grip. 

"I'm going to him !" he said, hotly. "He 
was lying — I'm sure of it. There's some 
queer work — and I'll find out what it was ! 
You're not to worry, Irene, though the 
money needn't matter. I have enough, you 
know." 

She let him go. Instinct, that was tell- 
ing her so many things, made her realize 
that she could not hope to stop him now. 
And yet, had she been able to see what was 
in store, she would have clung to him, 
forced him to stay. She let him go, with 
only a gloomy foreboding, a sense of some 
evil thing hovering about, to warn her, and 
that not until he had gone. It haunted her 
through the night. 

Morning brought understanding. 

She was surprised, first, and a little 
frightened, when she did not hear from 
Arthur Colby. But it was nearly noon 
when she learned the stunning truth — that 
Sidney Villon had been found dead in his 
room, a bullet hole in his body, a revolver 
on the floor nearby, and, in the same room, 
Arthur Colby, stunned by a fall! 

The papers called it murder, clearly 
proven. They had the motive; some re- 
porter had discovered that the two men 
had been rivals for her hand. Life had 
gripped her at last ; it was making up for 
the sheltered years, the idling, trifling years ! 

Now Irene rose to meet the crisis and to 
prove the stuff that was in her. She did not 
fly away to Europe, as her aunt seemed to 
think she should. In no way did she try 
to evade the issue. She went to Colby, 
splendid in her defiance of gossip ; went to 
him, even in the moment when she believed 



At the Stroke of Twelve 



113 



that some sudden madness had led him to kill for 
her sake. She could have forgiven that. But his 
first thought was to protest his innocence to her. 

"I don't know what happened !" he said. "The 
room was dark when I went in. Someone struck me — 
it must have been Villon. And then he shot himself. 
I suppose. I can't imagine what else happened." 

"The y say ^^^^ that he couldn't have done 
that," she told JLa n^ him. "The doctors 

agree gM m^ ;■ that it was some 

one else ^M JW who fired." 



^m. 




Do you know that yon are in a very peculiar position? You have been spending a great deal more 

money titan you haveV 



"Then there must have been someone else 
— a burglar, perhaps." he said, hopelessly. 
"Oh, I haven't a chance! It all fits in too 
well — a perfect chain of circumstantial evi- 
dence." 

"I know- now that you didn't do it," said 
Irene. "And there must be some way to 
prove it !" 

Easier said than done. She did all she 
could; Arthur Holmes, Colby's friend, and 
his lawyer as well, did more than it was 
possible for her to do. Yet they were baffled 
in the end, and on the day when his trial 
was to begin they faced one another, con- 
vinced that Colby's chance was of the 
faintest. 

"We know he didn't do it I" said Holmes. 
"But to know it and to prove it — Lord, 
what a difference !" 

And as the trial wore on every trifling 
circumstance seemed to be magnified. It 
moved swiftly ; the district attorney's case 
was finished with the first day's session. He 
had few witnesses ; he needed little of evi- 
dence save the bare recital of the few damn- 
ing facts that were already a matter of 



common knowledge. And with a final, 
trifling point, he closed the state's case. 

Villon's watch was produced and marked 
as an exhibit. 

It had been stopped by a bullet, at the 
stroke of twelve. 

Holmes leaned over to Irene, contemp- 
tuously. 

"Why drag that in?" he said. "It has 
nothing to do with his case — it's a trick to 
impress the jury. And it works !" he added, 
bitterly. 

But Irene was staring at the watch, as it 
passed from hand to hand in the jury box. 
She whispered back. 

"Come to me as soon as you can !" she 
said. "I have just thought of something!" 

Holmes joined her in her home. She was 
in the library, staring at the clock, ticking 
away quietly. 

"That watch was stopped at midnight !" 
she said. "That night Mr. Villon set his 
watch by this clock. And — Arthur did not 
leave me until five minutes past twelve !" 

"Thunder of Heaven !" Holmes sprang 
to his feet, all attention. "Will you swear 



114 



Photoplay Magazine 



to that?" She nodded. "I must prove 
that this clock was right — who looks after 
your clocks? Jorgensen? Right — I know 
him. I can prove that that watch was in 
good order. We've got an alibi, I do 
believe! If we could only find the man 
who did the shooting — " 

"Oh!" Irene cried suddenly. "I've been 
so stupid! You've been hunting high and 
low for some man who hated Sidney Villon 
— and I've known one all the time !" 

Quickly she told him of the old inventor, 
Rupert Hazard. 

"I'll go to him at once," said Holmes. 
"It's not too late — " 

"And I'll go with you!" she cried. 

Holmes protested, but in vain. They 
learned the old man's address from 
Holden, reluctant to tell them, but moved 
by Irene. And, by good luck, they found 
him. The man's eyes lighted up with 
a flare of malice at the sight of Irene. He 
remembered her. 

"You're the one who was welcome when 
that scoundrel kept me outside!" he said. 
"Aha ! You were to have some of the 
money he stole from me, when he patented 
my explosive — " 

Holmes stared. 

"So that was your invention" he said. 
"People — and I among them — wondered 
about that when Villon took the patent 
out. Will vou tell us about that, Mr. 
Hazard?" 

He cautioned the girl to be silent; she 
saw that he was strangely excited. 

"I'll tell you nothing," said Hazard, 
cunningly. "You're his friends. She — " 

"I hated him — before he — died," said 
Irene, quietly, fixing Hazard with her eyes. 
"The man I want to marry is on trial for 
killing him — and I think you know he 
didn't kill him! I was so sorry for you 
that day — you remember? I asked him 
about you — and he said you were a crank." 



"Aha! I knew he talked like that!" 
cried Hazard. "But I did see him ! I got 
in as you went out — and I threatened him ! 
But he cowed me. He always could — in 
the daylight. He said he would telephone 
for the police — and I was afraid. I waited 
until I found him in the dark. Then — " 

"Then—?" said Irene. 

"I — no-o — oh, what does it matter. He 
stole my explosive — but I have invented a 
better one. One that acts in such a limited 
space that a bomb thrown in a room will 
destroy only the spot where it strikes ! You 
shall see ! What was I saying ? Oh — I 
waited ! One night I was waiting for him 
in his rooms when he came in. I killed 
him! No one knew — they thought a man 
who came later, when he was dead, had 
done it ! That was a good joke !" 

He looked suddenly at a clock on the 
table near him. 

"Stand back !" he cried suddenly. 

Irene and Holmes knew he was mad by 
now — whatever the truth about him had 
been when Villon had first called him so. 
But there was something in his voice that 
drove them back, despite themselves. And 
then there was a crash. The table and 
the clock had vanished ; before them, shat- 
tered, torn, was the body of Rupert Haz- 
ard. He had proved the invention he had 
boasted — at the cost of his own life. 

And that was the story that Irene told 
when Holmes called her to the stand ; a 
story he could corroborate, and that was 
proved by the evidence of the policemen 
■who had found Hazard's body. Without 
the evidence of the clock, proving that Vil- 
lon had been dead before Colby left Irene, 
it might not have served ; without the story 
of Hazard the alibi might have been re- 
jected. But the two things destroyed the 
state's case. The district attorney himself 
moved his prisoner's acquittal. 



When Providence Was Providential 



ONE night not many weeks ago, the 
Chaplin film, "A Night Out," was ad- 
vertised at one of the photoplay houses in 
Newport, R. I. 

When time came to show the film, the 
manager announced that the Mayor, who 



had constituted himself the town board of 
censors, had forbidden the picture. 

Whereupon, that night and every night 
following for the rest of the week, at least 
a hundred Newporters went over to Provi- 
dence and fooled the Mayor. 



Bushman Moves 



115 



Some Business Man Bushman Goes to Metro 



JWIACK Sennett was going to the San 
iVA Diego fair in his Stutz Car. About 
three o'clock in the morning, and twenty 
miles from nowhere, Mack found that his 
supply of gasoline had given out. 

There was nothing to do but sit by the 
side of the road and wait for something 
to come along, which Mack proceeded to 
do. He had waited but a few minutes, 
when he heard the sound of wheels on 
the road and soon a wagon was distinguish- 
able in the dark. 

"There's a ten spot in it if you haul me 
to town," hailed Mack. 

The driver readily consented and Mack 
settled down for a three-hour ride. They 
were drawing into a little burg when Mack 
remarked that it was rather early for the 
driver to be on the road. 

"Yes," he replied, "but I have to start 
early to get around to all my customers." 

And as Mack handed him the ten spot 
for his work, the man continued, "You 
see I peddle gasoline to the stores in the 
small towns around here." 



Sweet at Six 

f~\ F course she's 
^^ been Sweet ever 
since — even in the 
Biograph interreg- 
num when she was 
sprouting the wings 
of genius under an- 
other name — but 
she was especially 
so, customary pun 
on the name and all, 
at this delightful 
doll-toting age. 
Often children are 
far from being 
prophets of their 
future selves; but 
six-year-old Blanche 
Sweet bore a good 
deal of resemblance, 
in a miniature way, 
to the straw-haired 
beauty with mouth of trembling flame, who 
lias recently made so many screen produc- 
tions illustrious, and whose interpretative 
work, from "The Escape" to "The Cap- 
tive," has been of singular individuality 
and compelling force. 




Francis X. Bushman has just signed a 
contract as leading man of the Metro Fea- 
tures corporation. He ended his Essanay 
service — an affiliation which has been his- 
toric in picturedom — April 30. Relations 
between Mr. Bushman and the company he 
has just left have been entirely pleasant. 
But he believes, as do some other players, 
that progress lies in an occasional change 
of surroundings, associates and subjects. 
Mr. Bushman will remove to Los Angeles, 
where the Metro studio will be located. 
During the actor's recent visit to the Pan- 
ama-Pacific Exposition in San Francisco 
he made a brief excursion to Los Angeles, 
and was a guest of the studios there. Miss 
Beverly Bayne, who has been Mr. Bush- 
man's very effective as well as beautiful 
leading woman in the Essanay studios, will 
probably accompany him in his Western 
progress. Although a young man, Mr. 
Bushman is regarded a picture veteran for 
his long association with photoplays. Be- 
fore the vogue of active photography he 
headed his own stock company, which was 
one of the most popular organizations of 
its class in the United States. Mr. Bush- 
man's first plan of change was for an 
alliance with Universal. 



Chaplin in Revue 

THE summer show at the New York 
■*• Winter Garden will probably have a 
"Chaplin number" as one of its bipgest 
features. The Chaplin burlescme will be 
principally performed by the inimitable 
little comedian Willie Howard, who, dur- 
ing the Pacific Coast visit of "The Whirl 
of the World," was Chaplin's guest, and' 
was taught the whole basket of Chaplin 
tricks by the screen laugh-wonder himself. 
Chaplin, as a matter of fact, not only 
tutored Willie Howard in his "stuff," but 
taught Miss Texas Guinan, Miss Lucille 
Cavanaugh and Miss Juliette Lippe just 
how to do "a corner," the "walk," and 
his other specialties in foot-work and gyra- 
tion. It is said that this contemplated big 
number may be done behind a screen, with 
the players between the screen and power- 
ful lights — so that although performed by 
actors who are present, it will be shadow 
drama after all. 




Still pictures by Underwood & Underwood. Motion 
pictures by Mutual Weekly, produced by the Gaumont Co. 



Anna Held, Immortelle of piquant comediennes, marches through Paris at the head of her newly-organized Relief Corps of French Boy Scouts. 



Bizarre War and Tragic Peace 




(Copyright, International Newsservice) 



They will charge the terrible deeps for the F-4, lost off Honolulu. Left to right: William Loughman; Stephen 
Drellishak, who has gone down 274 feet in an ordinary diving suit; Frank Crilley, and Fred Neilson. 




(Copyright, International News Service) 



A remarkable photograph on the steamer Falaba, made by a passenger just after 
the German torpedo struck. 



117 



Fighters and Russian Boots 




(Photo by International News Service) 



The smart woman of New York is wearing 

Russian boots. It is said Berlin looks 

on this style with disfavor. 



(Copyright, International News Service) 

Art Smith, candidate for the late Lincoln Beachey 's honors. He 
does the loop twenty-two times in succession. Please omit flowers. 



118 



War Engine; Clocked Stockings 




Still pictures Copyrighted by Underwood &- Underwood. Motion 
pictures by Mutual Weekly, produced by the Caumont Co. 

One of the European armored trains. This photograph shows 

the solid rolling fortifications now being constructed 

in contradistinction to the boiler-iron guard 

plates of the early war. 




Still pictures by Underwood & Underwood. Motion 
pictures by Mutual Weekly, produced by the Gaumont Co. 

Billy Sunday, the most emotionally successful evangelist 

since Moody; the most financially successful 

since Dowie. 



Still pictures by Underwood & Underwood. Motion 
pictures by Mutual Weekly, produced by the Gaumont Co. 

Ladies, if you wish your ankles watched, follow 
the timely lead of this Atlantic City damsel. 



119 




SINCE 1915 
dawned a lit- 
tle new star 
blazed up to 
first magnitude in 
the firmament of pho 
toplay. To be sure, 
she twinkled before, 
but it has been this year 
which has brought her to 
planetary classification. 

Marguerite Courtot ; Kalem ; 
a delightful little comedienne of 
refinement — 

That's all most of us know about her. 

She has never worked for any company 
save Kalem. 

She has never played any role except 
that of leading woman. 

She was born Aug. 20, 1897, of French 
parentage. She has been twice to Europe, 
and on her last visit attended school in 
France. She converses with equal ease in 
French and English. 

Her home is on the New Jersev shore, 
just across the majestic Hudson, and when 
she was fourteen years of age she used to 
pose occasionally for Messrs. Davis & San- 



Courtot: — 

Well, Who is She? 



THAT'S JUST WHAT THESE 

FEW PARAGRAPHS WILL 

TELL YOU 

ford, Fifth avenue photographers. Mr. 
Davis was a friend of the family's, and told 
Mrs. Courtot that he believed her little 
daughter would make a great success as a 
photoplayer. Finding that there was no 
p a r e n t.a 1 objection, Mr. 
Davis introduced her to the 
officials of the Kalem com- 
pany ; they seemed equally 
impressed, and in the fol- 
lowing autumn requested 
Mrs. Courtot's permission 
for Marguerite to ac- 
company their Flor- 
ida c o m p a n y to 
Jacksonville. But 
Mrs. Courtot, wiser 
than most mothers 
of flattered chil- 



Marguerite 

Courtot: 

summer, whiter, 
and in "The 
Barefoot Boy," 
her Javorite play. 




dren, felt that if 
her daughter 
was to have a 
career an ed- 
it r a t i o n 
would be 
the only 
real foun- 
dation — and 
accordingly 
kept her 
school. 

Though the 
company was in 
Florida. they 
had not for- 



Courtot:— Well, Who Is She? 



121 



gotten the promising little New Jersey girl, 
and letters kept coming back asking for a 
repeal of the maternal decision. 

Mrs. Courtot was firm, but when the sum- 
mer vacation came she permitted Marguer- 
ite to work as an extra in the New York 
studio. 

In October, 1912, she formally joined 
the company, and has been seen in nothing 
but leading roles. 

Despite her extreme youth, the indescrib- 
able girlishness which is her chief charm, 
and her fascinating facility in comedy — 
an inheritance from her Gallic ancestors, 
no doubt — Miss Courtot prefers strong 
plays of emotional and" problematic tend- 
ency. 

However, she adores real comedies, too ; 
when the humor is genuine, and not a 
lot of uncomic silliness. One of her fav- 
orite pieces is "The Adventure of Briar- 
cliffe." 

"The Barefoot Boy" she considers her 
very best piece of work. 

She played the great role of Zoe, in "The 
Octoroon," when only fifteen years of age. 

When four years old she won a prize as 
the prettiest baby in her home town. 

Only lately, a $100 prize was awarded 
her in a national contest, as one of Amer- 



ica's fifty loveliest and most charming 
women. 

A life-sized oil painting of her is on 
exhibition at the Panama Fair. 

Every week this winter she has sent 
papers, magazines and books to the 
American Ambulance- Hospital Service at 
Neuilly, France. "Susie Sewing Shirts for 
Soldiers" might be transposed to fit the 
case of Marguerite Courtot, too, for she 
has devoted much of her time in the past 
few months to knitting warm things for the 
French soldiers in the trenches. 

Tennis, dancing and automobiling are 
her favorite recreations, although she con- 
fesses that she finds not much time for any 
of them. 

Miss Courtot receives a great many 
letters. 

Her mother accompanies her whenever 
her work calls her away from home. 

She does less rehearsing than any other 
actress in her company, as she thinks out 
her roles when she studies them, and after- 
wards discusses them, in all their phases, 
with her director, before rehearsals are 
called. 

She is at present working in the New 
York studio of the Kalem company with 
Tom Moore, who is also her leading man. 



The Pianist 

I_|E had a home-and -mother gaze, 
*■ *■ While writ upon his brow, 
Was, "I have seen much better days 

Than those I'm seeing, now;" 
His shirt was worn and thin his soles, 



His pants bagged at the knees. 
His old frock-coat was full of holes. 

His hands sagged on the keys, 
But when it came to sneaky stuff, 

Beneath the movie screen, 



He was the real goods, sure enough, 

To boost a tragic scene. 
"How can he work so hard," I thought. 

"And play from sun to sun, 
Such wondrous skill cannot be bought. 



Nor yet be .had for fun." 
To put a battle film across, 

The old piano rang. 
Oh, how he played — for he was boss 

And owned the whole shebang ! 

— H. S. Haskins. 




Mary Pickford leaving her Los Angeles home for a morning in the studios. At her side is her brother, Jack, while her mother stands on the porch. 



Movie Royalty 
in California 



ESTATES AND PALATIAL HOMES 

BESTOWED ON PHOTOPLAYERS 

BY THEIR CALLING 

By Grace Kingsley 



ONCE upon a time the 
actor dwelt in a tent, in 
his carryall, or slept 
under a tree. He grad- 
ually came to a better state, and about 
the time he had acquired opulence and a 
country home his motion picture friend — indeed 
a humble enough person in the beginning — 
boasted of his superiority because he could estab- 
lish a residence, a voting place, and an eating 
account in some one hotel, countryish and isolated 
though that hotel might be. 

As time went on — 

Space is valuable, and it is better to summarize 
the whole story with one word : California. 

California has made titled ladies of the photo- 
play actresses, estate-owning princes of the actors 
and directors. 

Your flustered and mussed 
nickel comedian probably 
drives to his humble occupa- 
tion in a five-thousand-dollar 
car, and returns from his toil 
to a literal palace. 

Your favorite leading 
woman, according to the 
ratio of chance, has a ranch, 
a limousine, and maids 
enough to satisfy the de- 
mands of a fussy crown prin- 
cess. 

To Hollywood, a suburb 
of Los Angeles, belongs the 
palm for housing more pic- 
ture people than any other 
spot in the world. 



The Pickford Home 

Mary Pickford spends her 
few davs of leisure and her 




Kathlyn Williams iti Iter new home, 
now building. 



123 



124 



Photoplay Magazine 




What comedy has done for Mabel Normand — her home. 



resting hours in a two-story bungalow in 
Hollywood, near The Famous Players 
studio. The house is of rough Oregon 
pine, stained brown, and has a wide, in- 
viting porch in front, and a great sun- 
parlor at the side. There are a lovely 
lawn and some old trees and many roses, 
and many a fine morning finds Mary out 
gathering her favorite ragged — robins for 
the breakfast table. 

"Within, one enters at once into a huge 
living room, finished in mission oak, fur- 
nished with Persian rugs, mission chairs 
and tables, a few books and pictures, a 
huge victrola, a silver vase of flowers, and 
with a great brick fireplace set diagonally 
just at the entrance of the pretty little din- 
ing room. The sun porch opens off the 
dining room, and here Mary and her sec- 
retary spend an hour every morning; for 
Mary reads every letter which is sent her, 
averaging from 25 to 100 per da}'. 

None of Mary's world-wide friends are 
neglected. Even one letter written in 
Chinese was carefully interpreted, and was 
found to contain a courteous expression of 



deep admiration from a Chinese Prince. 

There is a white tiled kitchen at the rear 
of the house, and here "Little Mary" loves 
to dabble her white fingers in cake-making 
whenever she has time. 

A great cabinet in the dining room con- 
tains Mary's most precious possessions : 
gifts that have been sent her from all over 
the world. There are some rare bits of 
china, jewelry, books, a Spanish scarf, the 
loving cup which the people of Sydney sent 
her from Australia, and a tiny gold ring 
which a little girl wrote her was all she 
had to offer. 

Upstairs are three sleeping rooms, Mary's 
being done in pink and white. 

A garage in the back of the lot contains 
the big mauve-colored car in which Mary 
rides when she goes abroad. 

At Kathlyn's House 

Kathlyn Williams is just finishing a new 
house. Miss Williams' home is being built 
on Sunset boulevard. It is in Mission 
style, is of re-enforced concrete, and will 



Movie Royalty in California 



125 




Hobart Bosworth, on the terrace of his Los Angeles home. 




Carlyle Blackwell, in his library. 



126 



Photoplay Magazine 




"Jack" Kerrigan's home is quietly restful. 



have great porches running around three 
sides of the house. These will be furnished 
with lounges, hammocks and rocking 
chairs. A wide door opens into the living 
room, which extends across the front of 
the house. There is to be a great fireplace 
at one end, set with porcelain plaques de- 
picting scenes from the life of Jeanne 
D'Arc ; and above is a large Tiffany stained 
glass window. 

The living and dining rooms are fur- 
nished and finished in mahagony. Five 
Persian rugs will adorn the living room and 
dining room floors ; while there is to be a 
dainty little delft blue and white breakfast 
room, and a pink tea room. 

Back of the tea room, and opening on a 
tiny garden, is Miss Williams' den, which 
is also the library, and which will be fur- 
nished with antique furniture, her cel- 
ebrated collection of Indian baskets and 
Navajo blankets, and many volumes of her 
favorite authors' works, chiefest being 
Shakespeare and Mark Twain. If you 
smile at the combination, she laughs and 
explains: "Both understood human 
nature." There will also be a piano. 

The dining room is circular, and has 



windows running half round it, on whose 
wide ledges the wonderful collection of 
tropical plants which Miss Williams 
brought from Panama will flourish. The 
floors of dining and living rooms are hard- 
wood and inlaid. 

There are three bedrooms upstairs and 
three large sleeping porches. Miss Wil- 
liams' room will be finished in pink and 
white. 

There is to be a sweet-pea garden back 
of the house. 

Miss Williams is also a great lover of 
animals. She owns a horse, two fine dogs 
and three Persian cats, all of which are 
to be well cared for at the new home. 
The garage will house some of her pets and 
her new Packard limousine. 

The Kerriganery 

J. Warren Kerrigan dwells at present 
with his mother in a modest, vine-covered 
little bungalow on Beach wood Drive, in 
Hollywood. There is a huge rose garden 
in the rear and a small orange orchard 
where "Jack" works daily, night and morn- 
ing when the length of the days permit, 



Movie Royalty in California 



127 



and always on Sundays. He owns a 
horse, dogs, pigeons, chickens and rabbits, 
and to these he gives daily care. There 
is a large library, for Mr. Kerrigan is 
very fond of books, mostly latter-day fic- 
tion. 

The furnishings of the house are simple, 
but always there are flowers everywhere. 

Mr. Kerrigan has a house on paper, 
however, and a big site in the Hollywood 
foothills for it, and he is to start build- 
ing within a short time, for he says he 
wants a California home always, even 
though — as now appears imminent — he is 
to be called to New York's Broadway. His 
plans are for a house built in the old Span- 
ish style around a court, or "patio," con- 
taining a fountain and a garden with a 
broad lounging piazza. Kerrigan is a very 
quiet chap, and seldom accepts invitations 
to parties. He prefers his home, his books, 
his pets, his music — I forgot to say that 
Jack is master of the piano! — his mother, 
to all the gaiety in the world. He owns a 
collection of Old- World Curios and paint- 
ings, mostly heirlooms. 

Chateau Normand 

Mabel Normand's home is a big two- 
story house in semi-colonial style. Its high 
ceilings and roomy stretches give a vastly 
restful effect. 

The dining room, which is used much 
as a living room, is a long apartment with 
high-beamed ceilings and wainscoting of 
mission oak. Collecting odd bits of fur- 
niture is one of Miss Normand's hobbies, 
and her graceful Chippendale would glad- 
den the heart of the most discriminating 
connoisseur. A wide grate at either end of 
the room glows with fragrant logs, and 
the walls are decorated with antlered 
heads that are mementos of hunting trips 
in the mountains of California. 

Miss Normand's bedroom is as dis- 
tinctive as the great dining room. A Louis 
Quatorze bed, for which she has been 
offered big sums, and a sleeping porch for 
use in hot weather, are the two items of 
interest in this part of the house. 

There is a big garage at the back of the 
house. 

Miss Normand owns two pedigreed col- 
lie dogs, whose ancestors slept before the 
firesides of the first families of the land in 
the davs before the Civil war. There is a 



rose garden at the rear of the house where 
the owner delights to walk early in the 
morning. 

Artistic Bosworth 

Hobart Bosworth is an artist, and his 
house, in Los Angeles, is filled with his 
own landscape paintings. 

There is a big sun parlor, and there are 
beautiful gardens in which he delights to 
work. 

In the rear is a barn, where his two 
thoroughbred horses are housed, for Mr. 
Bosworth is a skilled horseman. 

Entering, one comes at once into the 
living room, furnished and finished in 
mission oak, the furniture being all hand 
made. There are Indian rugs on the floor 
and a huge clinker fireplace. Off the liv- 
ing room is the library, finished in mission 
oak. furnished with many books — some of 
which are De Luxe editions, and Mr. Bos- 
worth's collection of Indian war bonnets, 
baskets, guns, pipes, arrow heads, three 
Alaskan outfits of furs, and the actual 
rifle of Davy Crockett. The dining room 
is. in oak. with a large stained-glass win- 
dow above the sideboard. The bedrooms 
are on the second floor, and one of these 
is known as the golden room, being fitted 
in gold and white. 

Cleo Madison's Home 

Cleo Madison, one of the most pleasing 
and popular of screen stars, dwells in a 
Swiss chalet, which is surrounded by a 
big porch, a lawn and, in the rear, some 
lovely flower gardens, as well as a veg- 
etable garden. There is a barn at the 
rear, housing Miss Madison's pony, cat 
and big collie, who all dwell together in 
peace. Miss Madison has an invalid sis- 
ter, who spends many hours out of doors 
in the sun-kissed garden, working among 
the flowers when her strength will permit. 

Roscoe's Preferences 

Roscoe Arbuckle is well paid for his 
comedy films. He drives a big, expensive 
car. and is a nightly visitor in the best 
cafes, but in the matter of choosing a 
home, he is confessedly a bit old fashioned. 
He has a quaint old place redolent of Fra 
Junipero's California. 



128 



Photoplay Magazine 



Where to Find It 

A PROPOS of the crusades on the part 
*^of people unacquainted with motion 
pictures which have resulted in some parts 
of the. country in rather silly legislation, 
the Motion Picture News of New York 
asks : 

"The public has heard the worst of mo- 
tion pictures for years. When are they 
to hear the other side?" 

The public has only to listen to its own 
heart and its own good judgment for "the 
other side." The News may feel assured 
that the American public never has, never 
is and never will be represented by any 
group of fanatics of any nature. 

The existence of the Photoplay Maga- 
zine and the material in it is alone, with- 
out considering the many others, a thor- 
ough proof of the amount of artistic value 
and solid worth there is in the movies, and 
the News may feel assured that there are 
a great many thousands of people in this 
country — many, many times more than 
those who see only the dark side of things 
— who are hand in glove with the Photo- 
play Magazine's appreciation of the 
bright side — the real side — of the movies. 

It is the belief of the Photoplay Maga- 
zine that the business of entertainment is a 
mission. That belief is so strong, that it is 
almost a religion with the men who write 
for it and who edit it. The movies are a 
form of entertainment than which there is 
no finer, none dearer to the people at large, 
nor any which has such a wonderful and 
all-embracing future. 

Compared to the good there is in the 
movies, the evil in them is less than one one- 
hundredth per cent — if there is that much. 

In fact, about the only thing that can 
be said against the movies is that it cuts 
down the amount of exercise per day of 
those who go to them. 

But the actors get enough to make up 
for that ! 

There was a law once in Connecticut, you 
know, which forbade a man to kiss his wife 
on Sunday. 

The movies we have not had always, but 
the fanatic was ever with us. 



Sure Thing 



ALEXANDER GADEN has left the 
**■ Universal Company to go with the Life 
Photo Film Company, with whom he will 
appear in juvenile leads up to Januarv, 
1916. 



I— IE is the "very best" script writer in 
* *Los Angeles, a "free lance" who has 
more orders from the companies working 
on the coast than he can fill. A few even- 
ings ago he, with three other members of 
his profession, called at the home of one of 
Universal's editors for supper, and, of 
course, all of them were talking shop. 

"I sometimes wonder," remarked the 
wife of their host, addressing the company, 
"if there is anything vainer than you 'pho- 
toplaywrites' about the things you write." 

"There most surely is, madam," replied 
the "free lance," "and that is our efforts 
to sell them." 



The Lens on 




Four Hundred Feet Below 

passes the crowd of lower Broadway. The camera 
man, swinging astride this hemp in the hurricane 
that almost constantly racks New York's tipper air, 
has his camera focussed on some distant point in 
Long Island. One of the daily flirts with fate in- 
dulged in by the Hearst-Selig news operators. 
The colossal structure from whose upper works 
he depends is the new Western Union Telegraph 
building. 



■/iMtJlfUl^flMMIWUMAJUW^^ ■ 



Hints on PhotoplayWriting 



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Photoplay Magazine's authority 
In this department Is one of 
the most successful scenario 



editors and writers In the world. 
Many of the most Interesting 
film features are his creations. 



CHAPTER II 



IN our last article we dealt with the 
all-importance of originality of plot, 
and the value of condensing the synop- 
sis into as few words as possible ; whilst, 
at the same time, making the story em- 
bodied in the synopsis as vivid and grip- 
ping as the plot will allow. 

Now we will try and outline as clearly 
as we can, without being too technical, how 
the scenes of the photoplay should be 
evolved. 

In these, as in the synopsis, brevity al- 
lied with clearness are the chief essentials. 
No attempt should ever be made to too 
clearly depict a scene. A very great deal 
must be left to the common sense of the 
producing director. 

To convey what I mean, I will depict the 
following few scenes, which I take at ran- 
dom from a produced photoplay, and will 
then explain why the scenes and the . ac- 
tion embodied in them are sketched so 
very briefly. 

Scene 1 — Park — Mary (a flirt) seated 
on bench reading. Charlie approaches. 
Flirtation. Eyes only. Charlie walks past 
and off. Mary rises, walks off, opposite 
direction. 

Scene 2 — Park — Close-up of Charlie 
looking back and smiling conceitedly. 

Scene 3 — Park Gates — Close-up of Mary 
looking back and smiling encouragingly. 

Scene 4 — Street — Mary walking. Meets 
• Charlie. He passes her. She drops her 
handkerchief. He picks it up and presents 
it to her. Raises his hat and walks on. 
Mary continues walking. Charlie turns 
back and follows her. 

Scene 5 — Exterior of Swell Restau-. 
rant — Mary appears and enters. Then 
Charlie appears. Takes out purse; ex- 



amines contents. Is satisfied he can meet 
any emergencies, and enters restaurant. 

Scene 6 — Interior of Restaurant — Mary 
at table. Waiter taking her order. Char- 
lie enters. Sits at adjacent table. Starts 
to study the menu. Cut scene. 

Scene 7 — Street — Robert (Mary's 
fiance) appears, walking rapidly; up to 
camera, and past it. Cut back to 

Scene 8 — Interior of Restaurant — Mary 
and Charlie still seated at adjacent tables. 
He moves to her table and orders bottle 
of wine. Waiter leaves room. They flirt. 
Charlie kisses her. Robert enters. Trou- 
ble. Ending with Charlie lying senseless 
and Robert escorting Mary out of restau- 
rant. 

Here, now, we have eight scenes, and all 
described so clearly, I hope, that anyone 
with average intelligence can understand 
them. The topic is not a very well chosen 
one, perhaps, but it is a very common one 
and easily grasped by all. 

The action runs smoothly throughout 
and does not need a single "subtitle" to 
assist it along. Subtitles must be used as 
little as possible. A scenario full of sub- 
titles is one that is badly written. A writer 
should be able to make the action in the 
continued scenes convey the story. How- 
ever, that is a subject we must deal with 
later and at more length. We will now 
diagnose the scenes described above. 

Scene 1 is described by the single word 
"Park." That is enough. There is no 
use in trying to describe the sort of park 
you may have in mind. The director will 
select his own location, but he will have 
sense enough to know that it must contain 
a path, and that there is a bench at the 
edge of the path for Mary to sit on. You 
may trust to the director to pick out a 

129 



130 



Photoplay Magazine 



suitable location and to know the meaning 
of the single word "Flirtation." The ma- 
jority of them are married men and have 
learned how to use their eyes in early youth, 
the same as other people. 

Scenes 2 and 3 are described as "Close- 
Up," which means to convey that they are 
the figures of Mary and Charlie taken at 
very close range of the camera. 

These "Close-Ups," as they are called, 
should be frequently used in a scenario, 
as they bring the audience in close touch 
with the characters and help to relieve the 
monotony of distant and half-distant 
scenes. This you will readily grasp if you 
are a close observer of the pictures you 
see on the screen, which every scenario 
writer must be, if she or he hopes to suc- 
ceed. 

Scene 4 is a Street. That is sufficient. 
Here again the director will select his own 
location. Never attempt to describe ordi- 
nary scenes. You can never tell where the 
producing company will be located. It 
may be in the heart of New York city, or 
the wilds of New Jersey, or the ice-bound 
slums of Los Angeles, or the boulevards of 
Chicago. No matter where he may be, 
you may rest assured the director will se- 
lect the best site that offers. 

Make Scenes Simple 

Scene 5 needs no comment. It is taken 
for granted that Mary would not enter a 
cheap restaurant. She was reading in the 
park and is therefore a girl of leisure and 
probably wealthy. No doubt, well dressed, 
or Charlie would not have wanted to flirt 
with her or to examine the state of his 
finances to see whether he could afford to 
treat her to a lunch in the restaurant. 

Scene 6 is also very clear. At the close 
of the scene you will notice the words : 
"Cut Scene." This means to convey that 
as soon as Charlie starts to study the menu 
the scene is finished — i. e., the camera stops 
working. 

Scene 7 is another Street scene. At the 
end of the scene you will notice the words : 
"Cut back to." This explains that your 
next scene will be the same as number 6. 
You cut back to the preceding scene. 

Scene 8 is therefore the same as scene 
6, and the action is a continuation of the 
other. When Robert has entered, the one 
word "Trouble" is sufficient to indicate to 



the director that there will be a quarrel 
and probably a fight. 

The director will devise the action he 
wishes to depict and will do it better than 
you or I probably could, as he knows the 
people in his cast and their various tem- 
peraments. Directors make their own 
troubles. 

Of course in the scenario containing the 
above scenes there were some preceding 
scenes, showing Mary flirting at a party 
and then becoming engaged to Robert, but 
the scenes which I have taken at random 
from the scenario will clearly convey all 
that I intend, I am sure. I am trying to 
explain to you how simply and clearly 
scenes should be worked out, and that a 
great deal must be left to the intelligence 
of the director. Be concise in everything. 

Tell Story Briefly as Possible 

The scenario of a . photoplay, which 
practically means the photoplay itself, is 
divided into a number of scenes, and every 
time the camera is shifted to a new posi- 
tion constitutes a separate scene; even 
though the camera is shifted back and 
forth to the same scene, after having been 
shifted to another position. 

These are designated "Cut-Backs" or 
"Flash-Backs," when they occur after one 
intervening scene. Flash-backs denote 
very short scenes or flashes, and cut-backs 
typify reverting to scenes of ordinary 
length. The writer should not concern 
himself with the length of the ordinary 
scene he wishes to depict, as that will 
largely depend on how the director chooses 
to follow the action outlined in the script. 

All that the scenario writer can safely 
do is to tell the story in as many scenes 
as are necessary to carry it to its logical 
conclusion, and then leave it to the produc- 
ing director to make the best of it. Of 
course, if one has had some practical ex- 
perience in scenario writing, and has 
worked hand in glove with various direc- 
tors, as staff writers in some studios have 
the chance of doing, then a great deal is 
learned as to the number of scenes indi- 
vidual directors employ in making a one- 
reel production. I am only alluding to 
one-reel photoplays at present, because they 
are the ones most in demand, and we 
should be contented to learn to crawl be- 
fore we attempt to jump the big chasms. 



Hints on Photoplay Writing 



131 



I have found that about 40 scenes to 
a reel in a dramatic or melodramatic story 
is what is most pleasing to the average 
producing director, and from 50 to 75 
scenes to a reel can be employed in the 
scenarioizing of comedies; all depending 
on the quickness or slowness of the ac- 
tion. In so-called "slap-stick" comedies, 
of course, a great many more scenes are 
necessary, as the action is very often at 
breakneck speed. In one slap-stick com- 
edy produced from my pen I remember I 
employed 177 scenes to carry it out, and 
the director added 6 more. But that was 
exceptional, and I think the action was 
a great deal too fast. However, I advise 
most writers to leave slap-stick comedies 
alone, as there is practically no market 
for them. 

I think I am fairly safe in surmising 
that the majority of those who are en- 
gaged, or who intend to engage, in scenario 
writing have the intention to write for 
profit and not merely for amusement, there- 
fore it is advisable to devote one's time 
and energy to subjects that will have a 
good chance of finding a ready market. 
And it is my earnest endeavor to guide 
all who are interested in scenario writing, 
and who have not as yet achieved the 
success for which they hope, to the road 
that is paved with acceptances and real 
money. 

Short Comedies Wanted 

One-reel comedy-dramas are, at this 
present moment, mostly in demand, and 
those with original plots and which hold a 
number of good comedy situations, will not 
go long a-begging. Remember, that it is 
the situation that makes for real com- 
edy and not foolish, childish acting, such 
as has been indulged in so freely in the 
past and of which the public has now 
become tired and disgusted. 

Embarrassing situations from which there 
appear no means of escape always bring 
a laugh, and if the party embarrassed can 
extricate him or herself from such a situ- 
ation with ingenuity, then another laugh 
is provoked and the actor immediately 
gains the sympathy and good-will of the 
audience. Therefore, think up all such 
situations you possibly can and embody 
them in your comedy scenario. 

Never plant a "suggestive" situation in 



your comedy. Make it your aim and ob- 
ject to keep the moving picture screen' as 
clean and healthy as possible. 

Next to comedy-dramas good one-reel 
melodramas with a strong "heart interest" 
are mostly in demand, but they must not 
be too enervating or cast in too sordid sur- 
roundings. The dying mother on the pal- 
let bed, the absent drunken father and 
the sickly sympathetic child have all been 
done to death. The patrons of picture 
theatres no longer care to leave the places 
of amusement with a sad feeling of depres- 
sion. The public wants "thrills" and they 
will gladly pay to get them, and the author 
who can provide them will find a ready 
market for his efforts. 

But do not confine yourself entirely to 
one-reel melodramas. If your story is 
strong enough to carry itself into 70 scenes 
or more, then, by all means, work it out 
to its logical conclusion ; but do not try 
and pad it out. Far better evolve a strong 
one-reel dramatic scenario, for which you 
will find an early acceptance, than to dilute 
your offering to a semblance of weakness. 
Watered stock is hard to sell. 

Good "Western" dramas and comedies 
are always in demand, but should be sub- 
mitted to companies who are working in 
California or Arizona. Confine your ef- 
forts to American stories. European at- 
mosphere is difficult to procure without 
going to the countries in Europe in which 
the scenes may be laid, and the American 
public has more sympathy with the people 
and subjects with which they are familiar. 
Leave "Costume" plays alone. The 
American public does not want them, and 
you must aim to give the public what it 
wants, (iood American stories, with up- 
to-date costuming. That's what the pub- 
lic wants. Stick to them and you'll win 
out. 

Tips on the Market 

It is impossible to inform readers of the 
actual requirements of the various pro- 
ducing companies, because they are so apt 
to change in their policy every once in a 
while, and writers must take their chance 
in submitting scripts to one and the other, 
using all the discretion in their power. 
Every scenario writer has had to face the 
same difficulties with which you will have 
to contend, and the path of a writer is 



132 



Photoplay Magazine 



never an easy one, though it is always 
open to those who have the determination 
and the necessary gray-matter to stick to 
the thorny trail. With brain and determi- 
nation you can accomplish anything, but 
one without the other will only lead to a 
blind road. 

The companies which are producing big 
four and five-reel features are not in the 
market for photoplays. They are mainly 
producing stage plays and adaptations 
from well-known published books by 
prominent authors. The best companies 
to submit your one and two-reel efforts to 
are the old established companies with 
which every writer who has made a study 
of moving pictures is familiar. 

The following authentic, information 
which we have directly received from the 
Hepworth Film Mfg. Co., Editorial Office, 
YValton-on-Thames, England, may inter- 
est some, and opens up a very possible mar- 
ket. This company has written to inform 
us that they are in need of two-reel dramas 
anil one-reel comedies. 

Any plot which does not represent the 
very best work of an experienced kind will 
be out of place with them. Pictures show- 
ing battles or fights between peoples of 



different nationalities will not be consid- 
ered. Plots must suit English life and 
customs. The minimum price paid by the 
Hepworth Film Mfg. Co. is $25 per reel, 
and for those which make a strong hit with 
them they pay much better than this. For 
return of MSS., if not acceptable, I should 
enclose a dime in silver, as American post- 
age stamps would, I fancy, be of little use, 
and English postage stamps are difficult 
to procure over here. 

The Hepworth Co. is very reliable and 
shows every consideration to writers, but 
self-addressed envelopes must always be 
enclosed for return of MSS., as in the case 
of every script submitted to any company. 

The Universal Film Mfg. Company has 
lately advertised the fact that it is no 
longer in the market for original photo- 
plays, but is going to produce entirely 
adaptations of plays, books and magazine 
stories, the film rights of which the Uni- 
versal Co. is contracting for, and the neces- 
sary work on which will be done by their 
staff writers in the New York studios and 
the Coast studios at Universal City, Cali- 
fornia. So free-lance writers will be mere- 
ly wasting stamps in submitting material 
to either scenario department. 



The Real "Advantages" 

A GREAT many theatrical managers 
■**■ are explaining why they went into the 
"movies." Strange enough, none of them 
seems to connect his entrance into a new 
field of activity with the fact that you can 
usually get a ticket to the "movies" at the 
box office ; that you are not referred to a 
curbstone merchant when you want to sit 
further front than the last row, and that 
thus far motion picture seats are not on 
sale at the fashionable hotel stands. These 
three advantages have done wonders for the 
"movies." "Variety." 



Try it, Fellows 

TTO give' names in such matters is hardly 
A fair — for then everyone says, "So-and- 
So has had experience." So let us say that 
it was a very young and very popular mem- 
ber of Vitagraph's western company who 
was talking to Louise Glaum the other 
evening. 

"Do you know anything about the lan- 
guage of flowers?" asked Miss Glaum. 

"Only this much," replied the very young 
and very popular actor, "that a five-dollar 
box of roses talks a heap louder to a girl 
than a fiftv-cent bunch of carnations." 



Oh, Well! 



Full many a film of purest ray serene 
The sunny hills of California bear ; 
Full many a film is born to blush unseen. 
And waste its sweetness in a Censor's lair. 
R. H. Gillmore. 



Movie Manners 

By Reginald Pelham Bolton 

The Whistler 

Once there was a Callow One who was convinced that he had been created to Contribute 
to the Enjoyment of Lovers of Music. He had Large Lungs, a Mobile Mouth and was a 
Wonder in Whistling. When Popular Airs were played by the Piano Puncher at the Movies, 
the Mezzo-soprano part was executed Staccato by the Wonder's Wind-organ. Presently the 
Proprietor perceived that there was no Extra dividend in professional music, so long as Airs 
on a Wind Instrument could be had for a minus quantity. So the Poor Piano Pounder was 
handed the Sidewalk, and the Audience was left with the Air Pipe. At last accounts, the 
Audience consisted of One — the Callow One. 

There are more of the same kind. 

The Chatter Ma£ 

There was a Dame who had Submarined a Quarter out of her hubby's Pants-pocket, and 
blew herself and the Next-Door Flat to the Movie. She forgot to take her Hat off, and the 
Next-Door couldn't remove hers because her Switch was short of Hair Pins. She had so 
much on her Mind that it Hurt her to hold it in till the Reel ran off. So she sat Sidewise and 
talked of what she had saved by taking Taxicabs to the Free Market, and the Next-Door 
informed her and the Audience of the cost of Curtains for her Bathroom Window. Every- 
body Learned that they didn't agree on the Price of High Living, but that they were One 
on the marked-down value of Husbands. When the house closed they both agreed it was a 
Wretched Show. 

Some folks have no show. 

The Butter-in 

A certain Hog cut loose from a Street Car and followed a footpath that led to a Movie. 
He had the Price of Admission all right, but he couldn't spare the Butt of the Two-fer he 
was Smoking, so he carried it in, and held it under a Debutante's Nose. He made himself 
quite at Home. He stuck his Feet through the next seat and his Elbows through the next- 
door fan's Ribs. He coughed and Guffawed, yawned and Shuffled just as he did at home 
with Wifey. Then he got up in the middle of a Reel, Trod on some Toes, Tore some Skirts, 
Jettisoned some cigar Ashes, and went Home feeling he had had a Lovely Time. 

Don't think this was the Only One, either. 

The Hummer 

Hark to the Hen Humming-bird.- She Seweth not, neither doth she Sing, but she Hum- 
meth a Heap. This Specimen studied Voice Culture on the Victor record system, with a 
Blunt Needle. At the Movie she was so primed with Popular Pieces and arias such as Tip- 
perary, that she contributed a continuous Performance obligato, after the manner of a 
Muted Flute. Nearby Patrons prayed to become Deaf-mutes, but few such Persons recognize 
real Art. In the Dance Music she hummed the Hesitation and then bits of the Fox Trot. 
The Audience took the hint, hesitated no longer and Trotted Out. By and by her Talents 
secured her a job as a Portable Phonograph in a Five Cent Store. Then the Movie business 
began to look up again. 

There are other hens that sing. 

The Expounder 

Once there was a Jack Daw, who had a Taste for Pictures, and loved his Neighbors as 
himself. He always read the Leaders aloud so that the Ignorant Public would not have to 
Spell them out. He learned Lip-Reading so that he could describe all the pictures in Ad- 
vance, and the Audience only had to sit back and see them with their eyes shut. Many Ten- 
der Hearts were thus spared the necessity of witnessing Mary Pickford's weekly wedding, 
and other Sorrowful Scenes. But he forgot that some Other Birds have a Grade A public 
school education, so he was sadly Surprised when someone referred to his Jaw as that of a 
Jack Ass. 

And he is not the Only One, by a Houseful. 

133 



Personality in Dress 



By Ruth Roland 



SOME ONE has said very cleverly, 
"The importance of the superficial 
is something which only the wise ap- 
preciate." 

Essentially speaking, clothes are super- 
ficial — or, rather, styles are; for clothes 
are necessary to shelter us poor 
thin-skinned humans from the 
burning rays of the sun in 
the summer time and 
from the winds that 
freeze in winter. To 
the person who finds it 
necessary to live in mod- 
ern society, however, 
where it is a question 
of personal ingenuity 
whether one is to have 
its luxuries or only its re- 
sponsibilities, style is. if 
not a necessity, at least a 
very important matter ; for 
appearance counts much. 

Style is something 
which cannot be 
learned, and all 
the money in the 
world will not 
buy it. It is 
a question of 
personality. 

And just 
as it is the 
actress' 
work to 
depict va 
rious per- 
sonalities 
and to 
become 
for the 
none e. 
each one of 
these women who 
ordinarily she is 
not. so it is also up 
to her to dress each 
personality accord- 

134 




ing to the style or lack of style which that 
personality would naturally have. 

Shakespeare said that "clothes oft be- 
speak the man." They always "bespeak" 
the woman. A woman is to be known as 
surely by the clothes she wears as by the 
company she keeps. In fact, the 
two things go absolutely and 
always together. The dowd 
dresses dowdily, the woman 
of spirit and originality 
dresses that way. the busi- 
ness woman dresses in 
simple tailor-made things. 
and the adventuress 
dresses to lure. 

Individuals, it may be 
said, are the moods of 
Nature. As she felt at the 
time, so she created them. 
Some are joyous, some are 
sad ; some are cruel, sonic 
gentle; some bril- 
liant, some dull. 
April's daugh- 
ter is sure to 
be a maid of 
alternate 
1-au g h t e r 
and tears : 
the son of 
December 
is a stern 
m a n . 
A n "d 
they all 
dress 
their 
parts. 
Rea I i/.- 
ing this, 
the a c- 
tress must 
train her 
m o o d s. 
Training 
one's moods 
is, in fact, a 



There are days when blue serge and stiff linen collars would 
absolutely stifle and make unnatural my attitude towards life. 
On such days clinging things of misty hues are necessary." 



Personality in Dress 



135 



great part of the artistry of acting. 
One must be sunny and gay for a 
bright and frolicsome part and pessi- 
mistic for the part of the 
pessimist and in each case dress 
to suit. 

There are days when blue serge 
and stiff linen collars would abso- 




" Style is something which cannot be learned, 
a question of personality." 



It is 



"The trick of style is to have your clothes 
'different' and yet not different: subservient to 
the current style, yet expressive of individuality. " 

lutely stifle and make unnatural my atti- 
tude towards life in general, and there are 
parts which blue serge and stiff collar 
would stifle as completely. On such days 
and in such parts soft, clinging things of 
misty hues are necessary for either making 
life or the part worth wdiile. 

Clothes, like civilization, are an ex- 
travagance no woman wants to do with- 
out. 



The Players From Ocean to Ocean 



i HE "Runaway June" company spent a few 
•*■ weeks in Bermuda early this spring and 
busted right into British society there. 

The whole company, which captivated the 
islands by their vivacity, were the guests at 
many functions, amongst them the masquerade 
ball given by Capt. Grant-Scuttie of the 
Queen's Own. 

The commanding officers of that particular 
British colony now realize some of the rea- 
sons for the superiority of American movies 
over those anywhere else in the world. It's 
the people in 'em. 



fy| IRIAM NESBIT, Edison, will appear 
before the public for the best part of the 
balance of the year in a series of photoplays 
in which she is the master mind of a band of 
clever crooks. Miss Nesbit, like all lady crooks, 
is a most charming and unvillainess appearing 
young person. 



1V/I AURICE COSTELLO has grown weary 
*"*■ of directing and has returned to his erst- 
while pleasant task of being a Vitagraph hero. 
His hew debut will be in "The Heart of Jim 
Brice." 



FRED MACE spent a month or so this 
spring in Havana, where he and H. H. 
Erazee cooked up a scenario to be built around 
the Johnson-Willard fight there on the fourth 
of April. 

WTLLIAM COURTLEIGH, the New York 
leading man, is to appear in pictures in 
Los Angeles this spring and summer under the 
direction of Oliver Morosco. 



ANITA STEWART, Earle Williams, Paul 
Scardon and Julia Swayne Gordon had a 
grand time in the mountains of Georgia this 
spring. They have been busy under the di- 
rection of Ralph W. Ince producing "The God- 
dess." a fifteen episode drama in which the 
fascinating Anita is the heroine. 

If ATHLYN WILLIAMS wants to be a 
*•■■ movie director as well as actress, and if 
she keeps on being such a past-mistress of 
technique as in time past, they'll have to give 
it to her. 

Incidentally she's a believer in the mission 
of the movies as a force for the improvement 
of all dramatic forms of entertainment, 
through which improvement the movie itself 
will rise to even higher planes than that upon 
which it rests todav. 



GRACE CUNARD "kidded" Carl Laemmle, 
head of the Universal Film Manufacturing 
Company, into playing a super's part in "The 
Broken Coin," one of the first pictures to be 
produced at Universal City. He served faith- 
fully and well, and at the conclusion of the 
episode in which he appeared received the usual 
three-dollar check — and signed the pay-roll ! 

136 



ij URING the filming of "The Virginian," 
U Dustin Farnum and his company of "Fa- 
mous Players" went to Escondido, California, 
to take a cattle scene. 

It was rather late in the evening when the 
company arrived and Farnum,- being tired, 
wished to retire. He walked up to a village 
loafer seated on a box outside the grocery 
store. 

"Which of those two hotels is the better?" 
he asked. 

"Wal." replied the native, "one of 'em has 
all rooms with baths and the other believes in 
personal liberty — you can take a bath or not, 
just as you like." 



f)\VEN MOORE and Mabel Normand are 
^-f playing opposite each other in romantic 
comedy in the Keystone studios this spring and 



JOHN BUNNY'S show on the vaudeville 
circuit closed in Philadelphia the last week 
in March. It is doubtful if he will make any 
more incursions into the world of vaudeville, 
but will in all probability stick to pictures here- 
after as heretofore. 



L-jARRY MESTAYER has joined the Selig 
*■ *■ forces in Chicago in the production of 
"The Millionaire Baby." 

Mr. Mestayer will be on the Pacific Coast as 
leading man for the company during the sum- 



JOE SMILEY, the Lubin director, on going 
over a story in the Photoplay Magazine 
for April recently, discovered an idea for the 
entertainment of the entire studio, when dull 
moments cut into their afternoons. 

The story that Joe spotted was "The Busi- 
ness of Smash." The resultant cogitations 
bore fruit in a film which was made up solely 
and only for the delight of the people of the 
studio. It consisted of all the great smash 
scenes from various photoplays, beginning with 
train wrecks and ending with a scene in which 
a mountain is blown up and a mining town 
wiped out of existence. 



C* EORGE PERIOLAT, formerly with the 
^"-* American, is to play character leads in the 
$20,000 prize serial, "The Diamond from the 
Skv." 



P ARENTAL championship honors — which 
*■ some players seem to take dubiously — ap- 
pear to belong, as far as the photoplay arena is 
concerned, to Herbert Standing, distinguished 
character man of Bosworth, Inc. Mr. Standing 
is the father of seven sons and five daughters. 
All of the sons are leading men, most dis- 
tinguished of whom is the internationally fa- 
mous Guy Standing. The two youngest chil- 
dren are girls, ten and fourteen years of age, 
with their father in Los Angeles. * 



And What They Are Doing Today 



QUITE a little coterie of stars desert the 
"legit" for the movies in the photodramati- 
zation of "When We Were Twenty-One.'' 
Amongst them are Marie Empress, recently 
with "The Little Cafe;" Helen Lutress of "The 
Crinoline Girl ;" Charles Coleman of "The Ad- 
ventures of Lady Ursula," and George Backus. 



j HE horrors of war are to be taken in 
* movies for the Universal Company by 
Phillip Klein, son of Charles Klein, the play- 
wright, who sailed for Europe this month 
armed with three movie cameras and a letter 
from President Wilson. 



! RENE HUNT took a flyer to New York 
* for her vacation in March, returning to the 
Pacific Coast and more work for the movies 
after a three weeks' look at Broadway and the 
latest New York stvles. 



WALKER WHITESIDE, recently the star 
in the mammoth production of the great 
English dramatic spectacle, "Mr. Wu," will ap- 
pear in a photoplay feature, "The Melting Pot." 
under the direction of the new John Cort Film 
Corporation. Mr. Whiteside is famous through- 
out the country for his work in "The Typhoon." 



McINTYRE AND HEATH will appear in 
photoplays following their return from the 
road about the first of June. 



CTELLA RAZETTO. of the Selig studio in 
^Los Angeles, has been fighting off an attack, 
of appendicitis, but after several weeks of ill- 
ness is pronounced on the road to recovery. 
During her absence Miss Vivian Reed has been 
finding an opportunity playing the leads for 
which Miss Razetto was scheduled. 



|V/[ ISS BELLE BENNETT, a young moving 
•»* picture actress, has established her own 
company in Minnesota. 



I RVIXG CUMMINGS is to be leading man 
* in the American serial, "The Diamond From 
the Sky." 



f^OURTNEY FOOTE, Bosworth-Morosco 
~ l leading man. is to appear, by special en- 
gagement only, in one or two Reliance features. 



L-lENRI GACHON. head of the negative de- 
* Apartment of the Eastern factories of the 
Universal company, is dead in Southern 
France. He was serving in the French line at 
the front, and his passing is by grace of a 
German bullet. 



YJT/ ILLIAM V. RANOUS, first director to 
™ be employed by the Vitagraph company, 
died a few weeks ago in California,' at the age 
of fifty. 



1V/I AYOR JOHN PURROY MITCHELL of 
1V1 ]vj ew York, has been posing in a municipal 
efficiency series for the Vitagraph company. 
These pictures are designed to show the inside 
workings of the government of New York City. 



lVj AE MARSH. D. W. Griffith's little trage- 
A»X dienne, has just been presented in "The 
Outcast," a four-part photoplay written by 
Thomas Nelson Page, U. S. Ambassador to 
Italy. 



D ROADWAY. New York, is having an in- 
•*-' vasion of the "Chaplin mustache," on the 
countenances of its young men. 



YY/ ALTER EDWARDS. Howard Hickman 
yy and Clara Williams have been practically 
living in Los Angeles' Chinatown, getting 
Oriental color, scenes and people in the forth- 
coming West Coast feature, "The Human 
Octopus." 



|V4 ARGARITA FISCHER and Harry Pol- 
•" lard are to be starred by the American 
company in a multireel photoplay made from 
the novel, "The Girl From His Town." 



f~)LGA PETROVA. well known emotional 
^'actress on the legitimate stage, has signed 
an extensive photoplay contract; and, in the 
coming eighteen months, is to appear in twelve 
feature screen dramas. 



J 



ESSE LASKY has signed the Scotch come- 
diene, Margaret Nybloc. 




JUDGMENT AFFIRMED. 

Officer — Here! what's all this about? 
Citizens — We are going to hang him. 
Officer— What for? 

Citizens — He is always trying to tell the plots 
of the movie plays he sees. 
Officer — All right, go ahead ! 

—Judge. 

137 




There is at Universal City a research department in connection with the property room, the business of which is to insure absolute 

accuracy in historical costumes and scenes. 



Getting It Ri£ht 

THE AGE OF SLAP-BANG DIRECTING IS OVER. THE 
DIRECTOR OF TODAY IS A GLUTTON FOR ACCURACY 

By Harry Carr 



IN the early days of moving pictures, 
the directors could "get by" with any- 
thing. 

In one of the military plays put out 
during that period, there was a court mar- 
tial scene in which a sergeant, somewhat 
amazingly, sat with the officers as a mem- 
ber of the court. The president of the 
court was a gorgeous and imposing crea- 
ture; he wore a private's blouse to which 
were fixed a major general's epaulettes and 
his distinguished legs were covered with a 
cavalry corporal's pants. He must have 
added considerably to the natural terror 
of the prisoner who. by the way, wore the 
blouse of an artillery trumpeter of the 
vintage of 1848 and the trousers of an 
infantry sergeant. These costumes were 
actually worn just as I state them. 

The moving picture public has now be- 
come too critical for such errors. 

When the Universal put out its big 
Samson picture, the entire work was held 
up for days because the research depart- 
ment could not find out 
what kind of ink horns 
the scribes used at that 
period. 

Right at this point, 
lies the great difficulty 
of producing pictures. 
The author of a story 
can glide delicately over 
what he isn't sure of. 
The ink horns of the 
scribes wouldn't bring 
any creases of care to 
the brow of the most 
careful author. He would just be a little 
hazy when he came to the ink horns and 
proceed blithely with his narrative ; but you 
can't be hazy with a scenario. Everything 
stands out with glaring plainness. 

Another detail that kept the research de- 
partment sitting up nights during the pro- 
duction of that same film was the kind of 
harp upon which the lovely Delilah played. 



"In the early days of mov- 
ing pictures, directors could 
'get by' with anything. 
Things are different now. 
No moving picture director 
would dream of attempting 
a military film these days 
without the counsel of a 
professional soldier." 



On account of its enormous output of 
films, the Universal has a furniture shop. 

When they were producing "The Spy," 
an entire set of furniture was manufac- 
tured in order to duplicate the furnishings 
found in an old sketch of Washington's 
headquarters. Every detail of that room 
was reproduced. 

One striking instance of the struggle 
for accuracy was a story of the Boxer Re- 
bellion in China, put out by the Universal. 
A woman had a dream that her daughter 
was attacked by the Boxer army. The 
dream was a "flash" and only lasted fif- 
teen seconds ; but armor and a special type 
of sword was manufactured for 300 Chi- 
nese soldiers for that flash. 

One of the greatest battles for accuracy 
was fought by D. W. Griffith when he pro- 
duced "The Clansman." One of the big 
scenes in that film is the Battle of Peters- 
burg. Before beginning the scene. Griffith 
sent to the National Soldiers' Home, a 
few miles from Los Angeles, and hunted 
up six old men who had 
been in the Battle of 
Petersburg. With them 
he went over the ground. 
One of the old fellows 
appointed himself 
spokesman. "Now," he 
said, "we was charging 
here — " He was inter- 
rupted by a loud snort 
of disgust. "Huh. we 
wasn't charging there ; 
never did charge there ; 
we charged over here," 
spoke up another veteran: In about 
seven seconds, the Battle of Petersburg 
was in imminent danger of being re-fought 
on the spot. In the end. Griffith had to 
send the veterans back to the soldiers' 
home and employ the professor of history 
at one of the colleges of Southern Cali- 
fornia, to find out what really did happen 
at the Battle of Petersburg. 

139 



140 



Photoplay Magazine 



One of the tough problems that kept this 
professor busy for a month was the sur- 
render of Lee. Now, everybody knows 
what Gen. Grant and Gen. Lee did at that 
memorable scene; but what were the other 
officers doing? It was known that Gen. 
Grant was smoking a cigar and turned his 
head away to avoid blowing smoke in some 
one's face — whose face? 

Again, when Lincoln signed the call for 
volunteers, history tells who was in the 
room, but where were they standing? 

. In order to have the news of Lincoln's 
assassination announced with historical 
correctness, the Griffith professor adver- 
tised for newspapers published on that 
date. To his surprise, a whole raft of 
them were offered. The one accepted was 
a South Carolina paper which, by the way, 
announced this story of all newspapers 
with a small headline on an inside page. 

During the progress of the Clansman, 
Griffith lost his chief military adviser. He 
was a young cavalry officer, just resigned 
from the army, owing to the ill health of 
his wife. In addition to the main battle 
scene, Griffith had a battery placed on a 
hill ready for a "cut back." The officer 
rushed up in great excitement and de- 
manded that this battery be removed. He 
said it would rake the trenches if it opened 
fire. Griffith explained that this battery 
would not show in the picture ; it was there 
for a separate sub-picture to be taken 
later. 

"Well," said the West 
Pointer, "if you're go- 
ing to have that battery 
there, I'm going to quit; 
I couldn't take any in- 
terest in this battle. It 
spoils the whole thing 
for me every time I look 
up at those guns." 

They told him that 
he couldn't quit; he 
was under contract. 
"Well," said the West 
Pointer, white with determination, "I am 
willing to go to court with you and see 
if any judge in the land will make me con- 
tinue to work with a battery in such a hell 
of a place." They finally had to let him 

go- 
Gen. Lee had two horses that he rode 
during the war. Was he riding Traveler, 
the white one, during the Battle of Peters- 



In one picture a woman 
dreamed her daughter was 
attacked by Boxers. The 
dream was only a fifteen 
second "flash" but armor 
and a special type of sword 
was manufactured for three 
hundred Chinese soldiers 
for that flash. 



burg? He was; the professor found out. 
One question they were never definitely 
able to settle. What lines of the American 
Cousin were being said when Lincoln was 
shot? 

One of the great sticklers for military 
precision is Cecil de Mille of the Lasky 
Company. When the Warrens of Virginia 
was produced, a West Pointer stood at the 
elbow of the producer. At one time, the 
whole film was stopped and important — 
one may say sweeping changes — were 
made because the West Pointer's soul was 
ruffled by a discrepancy so small and so 
technical that it is doubtful if one out of 
a hundred Civil war veterans would have 
understood, had it been explained to them. 
In this production, the military critic was 
the court of highest resort. No moving 
picture director would dream of attempt- 
ing a military film in these days without 
the counsel of a professional soldier. It 
is safe to say that there is not a moving 
picture in Southern California in which 
there are not several former army officers. 
In the Spoilers the Selig people went to 
the expense of making an exact reproduc- 
tion of the town of Nome and no exposition 
ever had a more careful or faithful model 
of a mine than the one blown up in that 
picture. 

Mr. Ince uses Japanese assistant directors 
in all his wonderful Japanese pictures to 
insure historical accuracy. To show the 
Ince punctiliousness in 
the matter of properties, 
one of his property men 
was wandering around 
Los Angeles like a lost 
soul a week or so ago, 
begging every news- 
paper for a picture of 
the United States Senate. 
He took one forlorn 
look at each picture and 
gave it back with a sigh. 
What ailed him was he 
couldn't find a close-up 
picture showing a minute outline of the 
carving on the pillars that punctuate the 
walls of that distinguished chamber. 

"Well, you can see just about what they 
look like," protested one of the photograph 
donors. 

"Just about what they look like?" 
gasped the young man. "My gawd, you 
don't know Ince." 



The World's Greatest Stage 



141 



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A Quarter-Mile Straightaway "On the Boards" 

/< is impossible to say "a quarter-mile behind the footlights," because footlights there are none. This is 
a theatre of all out-doors, and Jehovah hung its spotlight far up in the cloudless California sky aeons and 
aeons ago. It is the new stage at Universal City, and many companies can — and do — work on it at 
the same time, without in the least interfering with each other. In many ways there is nothing like this 

stage in the whole realm of picturedom. 



That Was Funny 

A COMPANY of Vitagraph players were 
•**-in Canada taking scenes for a big story 
of the "Great Northwest." They were 
many miles from anything that resembled 
a hotel and the members of the company 
were "put up" in the cabins of the natives, 
one here and one there. George Cooper 
was staying with a Canadian of French 
extraction who was very proud of a friend 
of his in New York, one Gaston Les- 
pinasse, of whom he told George con- 
stantly. 

"You live in New York?" he asked 
Cooper, the first evening at supper. 

"I do," replied George. 

"You know Gaston Lespinasse?" 

"Never heard of him." 

The Canuck looked at George as if he 
doubted him. "That funny," he said. 
"Gaston is the cook at the hotel." 



The Shearer Shorn 

A YOUNG newspaper man by the name 
*~*of Duece went to inspect the studios of 
the Big U branch of the Universal. He 
intended to propose to all the movie ac- 
tresses and then write a "story" on his 
experiences. 

All went well, and all the ladies took 
it as a good joke, until the ardent lover 
came to Miss Agnes Vernon, leading lady 
for Murdock MacQuarrie. Then it was 
that Fate got in its work, for Mr. Duece 
looked into Miss Vernon's eyes and all the 
fun left them. Instead of continuing his 
fake proposal, he asked her out to dinner 
and then and there made a real proposal, 
which the young woman accepted. 

And then Mr. Duece showed just what 
kind of a fellow he is by routing a jeweler 
out of bed and purchasing the diamond 
ring. 




"/ love you ! " he cried fiercely. Bernice felt herself yielding. Happiness surged through her. 

Their lips met. 



142 



Beauty to Burn 

By George Orcutt 



Synopsis of Preceding In- 
stallments : Bernlce Frothing- 
linm, twenty and a beauty, falls 
fn love with Robert MacCameron, 
the son of a neighboring farmer. 
Her stepfather. Colonel Frothing- 
liam. is a multimillionaire with 

freat pride in his family name. 
Ic frustrates the proposed mar- 
riage by arranging to have the 
young man sent away for three 
years. Bcrnice. thoroughly dis- 
illusioned by her lover's spineless 
consent, runs away to Chicago to 
hunt a job under the name of 
Bcrnice Gale. She makes a friend 
of Sarah Wilbur, a trained nurse, 
and through her advice secures 
the chance of a tryout from Tom 
Morgan, director of the Tran- 
script Producing Company, as a 
moving picture actress. As she 
is approaching the Transcript 
office she is intercepted by the 
Colonel and two detectives. He 
has a warrant for her arrest, 
alleging that she is insane. At 
this point Tom Morgan interferes 
and, by threatening to let the newspapers know 
all about the affair, frightens the Colonel into 
permitting Bcrnice to go on with her work. She 
makes the acquaintance of several mcmliers of the 
company and has her tryout. Tom Morgan tells 
her she will do for something. She goes home a 
little disappointed. Morgan writes the Tran- 
script's Xcw York office that he has a "find" so 
pretty that she has "beauty to burn." 

For a week Bernice sits around the studio 




with nothing to do. Then, one 
evening, Morgan takes her to 
dinner and explains that he 
did not want to pay any at- 
tention to her for a while for fear 
the other members of the com- 
pany would suspect him of 
favoritism. 

The next day she gets her first 
part. One of the scenes neces- 
sitates a plunge into Lake Michi- 
gan and a swim for a motor boat 
with Budlong. the leading man. 
When Bcrnice dives for the boat, 
she takes a long swim under 
water, and as she and Budlong 
reach the motor boat, she looks 
over her shoulder and finds Mor- 
gan swimming out after them. 

Her dramatic experience makes 
Bernice the center of a group on 
the train returning to the studio, 
which reveals to them the fact 
that she is not only beautiful, 
but a charming girl. 

She becomes more and more of 
an expert in the studio, and 
eventually plays leads with Ar- 
thur Gordon, a handsome actor with an in- 
teresting past, military as Well as otherwise. 
She becomes Infatuated witli him, contrary to 
Sarah's advice. 

Whereupon Tom Morgan, who is disgusted and 
frightened at the thought of her familiarity with 
Gordon, whom he knows to be a specious scamp, 
engineers a New Year's dinner at which Gordon 
gets drunk and disgraces himself in the center of 
the floor before the entire party. 



CONCLUSION 



CHAPTER XV— Continued 



BERNICE awoke slowly and pain- 
fully to the consciousness that she 
was being bundled into a taxicab. 
She heard Tom Morgan's voice, as 
though in a dream, saying "Winthrop 
Avenue." Her head ached as the machine 
dodged in and out of the traffic in the 
Loop, halting and starting again suddenly. 
They were blockaded, along with a stream 
of other motors a block long, in Wash- 
ington Street for five minutes — an inter- 
minable five minutes. As they crossed 
State Street she caught a glimpse of the 
noisy, surging throng that filled the side- 
walks from curb to building line. She 
wondered why there were so many people 
out and then she remembered that it was 
New Year's Eve. The image of the big 
restaurant and the crowd of revelers came 
back to her. For a moment she realized 
only that something terrible had happened. 
She could not remember what it was. She 



closed her eyes. She did not want to 
remember. She wanted to go to sleep. 
Her head sank back against the cushions : 
but she could not shut out the sudden 
and awful vision of Arthur Gordon's face 
as it had appeared to her when it pressed 
nearer and nearer to hers as he held her 
closer and closer to him. A little groan 
escaped her. 

Tom Morgan felt so sorry for her that 
he could not but hate himself for his own 
part in what had happened. He told 
himself that he had only set the stage and 
the rest had followed ; he had not urged 
Arthur Gordon to drink ; he had only seen 
to it that there was always a full glass 
in front of the man. But this reason- 
ing, though specious enough, did not sat- 
isfy him. He had known that Arthur Gor- 
don could not resist drinking when there 
were other people to drink with him, when 
drinking was the order of the occasion. 
He had known that alcohol. made a beast 
of the man. He had planned the New 



i« 



144 



Photoplay Magazine 



Year's party with the definite intention of 
letting Bernice see for herself that Arthur 
Gordon was not the Sir Galahad that she 
imagined him to he. Perhaps he would 
have been able to justify himself if he 
had not realized of a sudden the depth 
of his own interest in Bernice. As he sat 
back in his corner of the cab, Tom Mor- 
gan saw, for the first time, that his mo- 
tives were mixed. "It is true," he said to 
himself, "that Arthur Gordon isn't fit to 
marry her. Nobody who knows him would 
deny it; no woman could be happy with 
him for a month. But," and the admis- 
sion was a painful one, "I wouldn't want 
her to marry him if he were all that she 
thought he was." 

Bernice stirred and wrapped the rug 
more closely about herself. 

"Are you all right, Miss Gale?" Tom 
asked. 

"I've got a frightful headache," Bernice 
answered, "but otherwise I'm all right." 

"Sleep will cure that. You can take a 
day or two off from the studio — a week 
if you like." 

"I feel as if I never wanted to see any 
of them again," Bernice said wearily. 
Tom realized that tears were close to the 
surface. 

Sarah came running downstairs as the 
taxi stopped in front of the entrance to 
the flat and took charge of Bernice. 

"She fainted at the supper-table," Tom 
said briefly, "and so I brought her home." 
He would have liked to tell Sarah more 
of what had happened but he knew he 
could trust to her good sense and that he 
could do nothing just then to help, so he 
went home. 

Sarah promptly put Bernice to bed. 

"Don't try to talk," she said. "You 
need to go to sleep just as fast as you 
can." 

Bernice covered her eyes with her arm. 

"I can't talk about it now, Sarah. It 
was too awful. Arthur — " and with the 
mention of Arthur's name she burst into 
sobs. 

Sarah placed a soothing hand on her 
forehead and said nothing. 

"There," she said, "go to sleep." 

The sobs gradually ceased. 

"It was the most awful thing that ever 
happened to me in — " Bernice began, and 
the sobs broke out afresh. 

"He kissed me so abominably in front 



of everybody," she said when she was 
quieter. "Think of it, Sarah, we were 
dancing and he insisted on dancing right 
on after the others had stopped and he 
wouldn't let me go. It was horrible. And 
then I got away and ran back to our table 
and he ran after me and I was so fright- 
ened I could have died and then — " She 
covered her face with her hands. "I can 
never go back to the studio. I can't ever 
face them." 

"Tut!" Sarah said. "It wasn't your 
fault. Go to sleep now and everything 
will look different in the morning." 

Bernice awoke, refreshed: but bitterly 
unhappy. 

"I don't ever want to see him again," 
she said to Sarah over her coffee. 

"It was New Year's Eve you know," 
Sarah said mildly. "It's rather the cus- 
tom—" 

"What's that got to do with it?" Bernice 
interrupted sharply. "I could stand his 
having been drinking if he hadn't been 
so horrible. I hate drinking. I've always 
hated it. But — why, he was hideous. He 
was disgusting !" 

Sarah tried to take her mind off the sub- 
ject by gradual stages. 

"Was the dress a success?" she asked. 

"O, I suppose so," Bernice answered. 
"What difference does it make about a 
dress? I—" 

"I thought it was a charming dress," 
Sarah continued placidly. "And you were 
beautiful. You fairly glowed with — " 

"I hate being beautiful," Bernice cried. 
"I don't want to be beautiful. I don't 
want to be pursued. It's a curse." 

Sarah saw that it was no use to talk 
just then but she persuaded Bernice to take 
a nap. 

Early in the afternoon Arthur Gordon 
called. 

"It's Arthur," Sarah explained to Ber- 
nice in the bed-room. "He wants — " 

"I won't see him," Bernice said hotly, 
"tell him I'm not at home to-day." 

Sarah looked at her. 

"All right," she said softly and turned 
to the door. 

"No," Bernice called, "tell him to wait. 
I might as well have it over with." 

Sarah delivered the message to Arthur 
and went back to help Bernice dress. 
Sarah was more anxious than she would 
have liked to admit to herself. She hoped 



Beauty to Burn 



145 



with all her heart that Bernice would dis- 
miss the man without any hesitation; but 
she was not sure. There were no traces of 
drunkenness in the well-groomed Arthur 
Gordon who had presented himself so 
promptly. No one would have known by 
looking at him that he had not gone soberly 
to bed the night before and awakened after 
nine hours' sleep to a cold tub. His eyes 
had looked squarely into Sarah's; he had 
shaken hands with her firmly before she 
had had time to refuse; she had thought 
there was a slight flush on his clean-shaven, 
clear-skinned face, but she might have been 
mistaken. He seemed perfectly poised. In 
a word, he was the Arthur Gordon who 
had so completely won Bernice's love. In 
her heart, Sarah was afraid that the sight 
of Arthur would make Bernice forget the 
bitter episode in the restaurant and that 
she would find herself as much in love with 
him as ever. Sarah's ringers trembled as 
she hooked up Bernice's dress. But she 
said nothing. 

Arthur was on his feet the instant Ber- 
nice appeared in the doorway of the little 
drawing-room. His shoulders were thrown 
back, his fine head poised, his whole car- 
riage reminiscent of the training he had 
had in the British army. Just a moment 
he stood erect, then bowed. 

"Dear lady," he said, "I haven't any 
excuses. I have come to seek forgiveness 
but not to ask it. I know I cannot expect 
it and yet — ," he looked at her eloquently. 

Bernice realized in a flash that the man 
was hollow. She could trace in his face, 
gravely appealing as it was, the expression 
that had so horrified her the night before. 
But she did not hate him. She rather pitied 
him. She realized that he was no more 
an actor on the stage than he was off — 
that he never ceased to act from the moment 
he got up in the morning until lie retired 
at night, unless he had been drinking. That 
was the one flaw in his acting. When he 
had drunk too much the mask had come 
off; he was no longer a gentleman. That 
one episode had given her the key with 
which to unlock the mystery of Arthur 
Gordon. She saw that lie was no longer 
capable of a spontaneous act. Everything 
he did was calculated for its effect. And 
nothing, she realized as she surveyed him, 
was more characteristic than, the speech 
he had just made. 

"Dear lady," he had said, "I haven't any 



excuses. I have come to seek forgiveness 
but not to ask it. I know I cannot expect 
it—." 

"You are quite right, Arthur," Bernice 
said, and the calmness of her own voice 
surprised her. "You cannot ask forgive- 
ness and I cannot give it. It isn't a case of 
forgiveness. It's a case of my having made 
a mistake. I don't love you and that's all 
there is to it." 

Arthur waited, as if expecting her to 
continue. 

"You understand perfectly, I think," 
Bernice said, and turned as if to leave the 
room. 

"I understand," Arthur answered. It 
was as if he had been sentenced to death 
but was determined not to wince. "I have 
lost you — unless we can be friends?" 

"I'm afraid we can't," Bernice answered 
coldly. "Don't make it necessary for me 
to say any more. I think it will be much 
simpler if we see nothing of each other 
in the future." 

"That's final?" Arthur said quickly. 

"That's final," Bernice said. "Good- 
bye." 

"Good-bye," Arthur Gordon said, and 
for the first time his perfect poise almost 
deserted him. Bernice saw that he was 
angry. His acting had failed. With an 
effort he controlled himself and picked up 
his hat. 

As the door shut behind him Bernice 
threw herself on the couch and burst into 
uncontrollable sobs. 

Sarah hovered over her. 

"If he had only been real," Bernice said 
at last. Sarah nodded understanding^ and 
that was all that ever was said between 
them about Arthur Gordon. 

CHAPTER XVI 

Bernice did not succeed in forgetting 
Arthur all at once; but nobody knew it, 
and if Sarah suspected she kept her own 
counsel. Neither of them ever saw him 
again. When Bernice went back to the 
studio a day or two later he had gone and 
nothing was said about him in Bernice's 
presence. Tom Morgan saw that she was 
kept very busy during her hours at the 
Transcript Company's building and so a 
month passed rapidly. 

Bernice found herself more and more 
interested not only in her own work before 



146 



Photoplay Magazine 



the camera but in many of the other prob- 
lems of converting a scenario into a finished 
film. She began to turn a critical eye on 
the sets of scenery turned out by the 
Transcript Company's staff and to note its 
merits and defects. One day she was an- 
noyed to discover that the property man 
had supplied a mission table of weathered 
oak as part of a colonial drawing-room of 
the time of George Washington. She 
watched her chance to speak to Tom about 
it when he was alone. It was really, none 
of her business whether a Transcript Film 
put mission furniture back a hundred years 
or not. 

"What is it, Miss Gale?" Tom asked as 
she stood waiting, undecided whether to 
make her criticism or not. 

"That table," Bernice said. "It doesn't 
belong." 

"Right you are," Tom said. "O, Wil- 
liams," he called to the property man, "that 
table won't do. Nothing colonial about 
it." 

Williams hurried off to find another 
table and Tom went on as if nothing had 
happened. But later in the day he found 
a chance to thank Bernice. 

"I'm obliged to you," he said simply. "I 
ought to have noticed that table myself. 
But it got by me. I'm careless about those 
things I'm afraid. I need your help. Will 
you give it to me?" 

His smile seemed peculiarly winning to 
Bernice. 

"Of course I will — when I can," she 
said. 

That night she made Sarah go with her 
to a neighborhood theatre where other than 
Transcript Films were on hand, in order 
to see what their rivals were doing. She 
noted a number of details to criticize. One 
film in particular delighted her because 
the interior scenes were so well planned. 
Her experience was now sufficient for her 
to appreciate how much pains had gone 
into suggesting the room the director had 
in mind with as little furniture as possible 
in order that the stage might not appear 
crowded. She saw that the simpler the 
background against which the actors were 
photographed the better they stood out. 
She was astonished to find how frequently 
this simple principle was forgotten. 

Bernice was fascinated by her discovery 
of this aspect of picture-making. She be- 
gan to develop an eye for good groups. 



Two or three times she made slight sug- 
gestions to Tom and he acted on these so 
promptly that she made more daring ones. 

"Come out to dinner with me," he said 
when he had accepted her opinion that a 
scene was too crowded to photograph 
effectively. "I want to talk some of these 
things over with you." 

Their discussion lasted two hours, while 
with knives and forks laid on the table 
cloth to show the outlines of the sets, they 
moved salt cellars back and forth instead 
of actors. 

"I'm going to have Williams get up some 
miniature stages for me," Tom said as they 
got up to go, "I'm going to play with them 
evenings. I've been going stale. I've got 
so much interested in scenarios that I've 
been forgetting some of the rest of my 
job. But I must say," he added, "that I 
haven't your eye for effects. You're putting 
it all over me." 

Bernice flushed. Her memory flashed 
back to Arthur Gordon. She had not 
thought of him for two weeks and now 
she was reminded of him by Tom's com- 
pliment — she called him Tom now. Tom's 
way was so different from Arthur's masterly 
indirection. Tom spoke straight from the 
shoulder, as one man to another. There 
was no doubting his sincerity. He meant 
precisely what he said and Bernice was 
happy at hearing him say it. There was 
nothing hollow about Tom Morgan. 

That dinner was the first of many. Tom 
came often to the flat in the evening. He 
peopled the miniature stages which they 
set up on the dining-room table with lead 
soldiers. 

One evening after he had gone Sarah 
looked up from the book she was reading. 

"Bernice," she said, "do you ever wish 
you were back at 'Red House' these days ?" 

Bernice looked up with a smile. 

"I don't believe I've thought of 'Red 
House' for a month," she said. "I'll never 
go back. Why, Sarah, I'm making good !" 

"I should say you are," Sarah responded 
warmly. "And do you realize that it's 
been only six months or so since Tom check- 
mated your father?" 

"It's been more interesting than all my 
life before that Sarah," Bernice said rem- 
iniscently. "I never knew what it was 
to be so satisfied with just living before." 

Sarah smiled wisely to herself. 

"You know," Bernice went on after five 




"She did not want to remember. She wanted to go to sleep. Her head felt back against the cushions: 

a little groan escaped her. " 

147 



148 



Photoplay Magazine 



minutes of reverie, "there's something 
awfully human about that man. He's — ." 

"What man?" Sarah asked innocently. 

"Why, Tom Morgan," Bernice said. 
"Who did you suppose I meant?" 

"I didn't know," Sarah fibbed gracefully. 
"You hadn't mentioned any man. But I 
should say that Tom Morgan had an in- 
human passion for work." 

"It isn't work with him," Bernice ob- 
served ; "it's play. Why, it's the most fun 
I've had yet — working at the Transcript 
Studios." 

Again Sarah smiled wisely and said 
nothing. She was happy in Bernice's hap- 
piness. 

Bernice sat for a long time thinking 
about Tom Morgan. She felt that she 
knew him better than any other man she 
had ever known — and liked him better. 
She knew that he liked her. If she had 
been a little franker with herself she would 
have said that he loved her. For though 
■ no word of love, no attempt at a caress, no 
suggestion of flirtation had ever escaped 
Tom Morgan she knew that he cared for 
her. She could not have told how. It was 
not necessary that she should be able to 
offer proofs. She knew. She was very- 
happy. 

A week later Tom and Bernice took 
Sarah with them on their bi-weekly visit 
to the neighborhood theater a couple of 
blocks away. It was one of those warm 
nights of which there' are always at least 
one or two in the last half of March or 
the first half of April, nights that offer a 
tantalizing foreglimpse of what summer is 
to be, nights that in the country are intoxi- 
cating with the odors of spring and that 
even in the city give one a strange pleasure 
not wholly accounted for by the mere soft- 
ness of the air. The three knew each other 
so well that they were able to enjoy each 
other's company without talking, certain 
that the spring night appealed alike to 
some inner sense in all of them. There was 
the lightest of breezes off the lake, warm, 
soft, caressing. It was just growing dark. 

They found themselves in front of the 
theater just after the first performance 
had begun. They had half an hour to kill 
before the second one. Tom proposed that 
they walk up Sheridan Road a half dozen 
blocks. 

"Yes, let's," Bernice answered. 

But just as they turned the corner and 



saw the long row of lamps that mark that 
highway of motor-cars Sarah met a trained 
nurse of her acquaintance, a girl whom 
she had not seen for a long time, and de- 
cided to walk back to the flat with her. 

"We haven't gossiped over our cases for 
six months," Sarah apologized, "and it may 
be six months before we meet again." 

Tom and Bernice walked on, side by 
side, without saying a word for half a mile. 
Bernice was happy simply in being with 
him and she knew that he was happy in 
being with her. She felt no strain because 
they did not speak. They had often walked 
so together in these last weeks just as they 
had often talked eagerly for three hours 
on end and then failed to say all they had 
to say. But gradually Bernice began to 
have a sense that tonight was different. 
Tom walked steadily and easily on. They 
kept step together automatically. What 
was the difference? Merely that this was 
the first evening that felt like spring she 
decided and knew that was not the secret 
even as she decided. She felt that Tom 
was going to put his arm around her. And 
then that thought struck her as silly. They 
were in Sheridan Road, in plain view 
always of a dozen passers-by. How absurd, 
she thought. 

They reached one of the cross-streets. 

"O, look," they both cried simulta- 
neously. 

The moon, a great red disk, was just 
rising out of the lake. It looked as if it 
were almost near enough to grasp. With 
one accord they turned down the cross- 
street toward the lake, looking at the disk, 
which, even as they walked two short blocks 
rose higher and grew smaller and less red. 
The street ended in the sandy beach of the 
lake shore but to the north w r as a low 
retaining wall, the top of which was level 
with the ground behind it and furnished 
a path. Tom took Bernice's arm and 
helped her up and as they walked along 
he kept it in his. 

"Do you know, Bernice," Tom said, 
"that you'll be having an offer to go down 
to New York or out to Los Angeles at 
about twice the salary the Transcript Com- 
pany is paying you. It'll happen most any 
time." 

"It would be very nice to go to Los 
Angeles," Bernice said. "I suppose it's 
like this" — and she nodded toward the 
silver path across the ruffling water which 



Beauty to Burn 



149 



led to the moon — "I suppose it's like this 
most of the time out there. But I'd hate to 
leave the Transcript Studio just now. I'm 
learning so much working with you." 

"I like working with you," Tom said 
quietly, "so much that I could never advise 
you to leave the Transcript Company while 
I'm the director." 

"What would you advise me to do?" 
Bernice asked in a matter of fact tone. 

"I'm not in a position to give you dis- 
interested advice," Tom said in the same 
tone, as if he were gravely considering a 
business proposition which interested him 
but slightly. "What I should like you to 
do is another matter." 

Bernice said nothing. She had a deli- 
cious sense that nobody in the world was 
quite like Tom, so outwardly calm and so 
inwardly tense. It was as if he were mak- 
ing mild fun of his own wild eagerness — 
not mocking it — merely acknowledging it 
with a smile at himself. 

"What I want you to do," Tom con- 
tinued amiably, "is to stay and marry me." 

(the 



Bernice's heart gave a little leap in spite 
of herself. 

"Well," she said, in a tone that repro- 
duced Tom's exactly, "I'll consider that. 
It rather appeals to me." 

Tom turned quickly, his arm went 
around her. 

"I love you," he cried fiercely; "I've 
loved you ever since that day you defied 
your step-father." 

Bernice felt herself yielding. Happi- 
ness surged through her. Their lips met. 
A moment later, a little breathless, she re- 
leased herself, and looked at him. 

"I love you," she said. 

He kissed her passionately. 

"Let's go home and tell Sarah," she said. 
"Sarah will be almost as happy as I am." 

"Nobody," Tom said, "could be as happy 
as I am — or as lucky. You beauty." 

Bernice looked up. 

"Arthur Gordon said that to me once 
and I hated him for it. It made me hate 
being beautiful to hear him say it. But 
now — now, I'm glad!" 
end) 



He Didn't Have to Tell Him 

•"THE "Leading Man" with one of the 
* Universal western companies, rushed 
madly up to the "Heavy," his eyes snap- 
ping, his jaw tightly set, and his hands 
clenched. It was very plain that there was 
going to be trouble. The property man 
grabbed the cape which the "Heavy" was 
wearing, and drew back to a safe distance. 

"Did you tell the director that I was a 
fool?" demanded the "Leading Man." 

"No," replied the "Heavy." "I did not— 
I thought he knew it." 



"VV/AL, Sally, did them motion picture 
** people get a moving picture of every- 
thing on the farm?" 

"Yes, Hiram — everything, 'cept the hired 
man ; they couldn't ketch him in motion." 



Hadn't Noticed 

""TWO "extra women," sweet, young things 
■*■ of about eighteen years, were talking, 
and, as usual, the conversation was about 
some "him." 

"Did you notice that good-looking fellow 
who sat behind us in the street car this 
morning?" asked the first "extra." 

"You mean the handsome fellow with the 
green necktie and tan suit, who wore his 
hair pompadour? No. Why?" 



COCIALISTS are using Jack London's 
'-'powerful photoplay, "In the Valley of 
the Moon," to further their propaganda. It 
is said that the film has been one of the most 
powerful arguments that the party has ever 
used. 



"O ALAMMBO,"Gustave Flaubert's titanic 
'"-'story of ancient Carthage, was the first 
photoplay produced at the New York Hip- 
podrome under the new motion picture 
policy. 



T TNCLE SAM has bought 66 projection 
*T machines for the purpose of treating 
the sailors and soldiers in his service to 
movie shows in all parts of the world and 
the waters thereof. 



The Camera Cavalry at Attention 




Cleo Madison, the heroine of a thousand hair-breadth escapes, is a splendid and daring horsewoman. 
Here she is with her favorite mount— fiery, but well trained as the picture shows. 



150 



Rocks and Roses 



LOVE LETTERS (AND OTHER- 
WISE) FROM OUR READERS 



Thank You! 

Belleville, N. J., March 26th, 1915. 
Photoplay Publishing Company, 
Chicago, 111. 

Dear Sir : — Enclosed find 30c in stamps 
for which please send me January and 
February Photoplay; and I will say I 
never knew there was such a wonderful 
magazine till this month and I can hardly 
wait for it to come out. 

Very truly yours, 

Raymond A. Smith. 

From An Innocent Aspirant 

Minnequa Hospital, Pueblo, Colo., 

March 8th, 1915. 

Gentlemen : — I have just been reading 
the April number of your wonderfully in- 
teresting magazine and being somewhat of 
a movie fan and scenario writer, I must 
congratulate you on your honest intentions 
which have, I see. commenced with the 
April issue, by eliminating all the fake cor- 
respondence schools and all such concerns 
that make a graft from the innocent, aspir- 
ing scenario writers. Also in the matter 
of more actors and actresses. 

No doubt there are lots of pretty girls 
who think the world would like to see their 
figure and charming features and would like 
to draw big pay checks. They are now 
shown by your plain, honest, solid facts that 
an amateur has got as much chance to get 
on the screen as I have to become President 
of the U. S. A. Yours truly, 

W. Bettens. 

Sylvia Appreciates 

Detroit, Mich.. March 29th, 1915. 
Editor. Photoplay Magazine. 

Dear Sir: — I think your magazine a won- 
derful wonder. I can hardly wait until the 
fifth of each month to come and I read it 
from cover to cover. 

Every copy is better than the one before 



it, and if you keep it up I really don't see 
how you will be able to supply the "Photo- 
play Fans." 

Since you have installed an. Answer De- 
partment, I think your magazine incom- 
parable. 

I especially adore your interviews. 

With most sincere wishes for the con- 
tinued success of your magazine. I remain, 
Sylvia E. Goldsmith. 

Slapping Shubert 

San Francisco, Cal. 

March 6th, 1915. 

To the Editor : — Being an enthusiastic 
admirer of the "Silent Drama" and having 
witnessed this afternoon the stupendous 
production of "The Clansman." by David 
Griffith, I am forced to register my humble 
protest against such wet blanket articles as 
"Mr. Shubert Protests" in the Photoplay 
Magazine this month. 

He says, "Actors of both sexes cheapen 
themselves at least commercially by appear- 
ing in picture plays." 

Do you think Sarah Bernhardt has 
"cheapened herself" because she has ap- 
peared in picture plays? I should say not. 

Whenever I read of protests belittling 
picture plays, I always think of two girls 
I knew. One is quite a beauty ; the other, 
while not so beautiful physically, has that 
rarer and more exquisite gift, personal mag- 
netism, and, of course, when she began to 
outshine "Beauty," "Beauty" got piqued, 
and now, when anyone speaks of the other 
girl's charm "Beauty" invariably exclaims : 

"Oh, but she is from such a common 
family!" 

And so it is with the legitimate and pic- 
ture plays. While, of course, the picture 
plays have not yet outshone the legitimate 
plays (for filmdom is in its infancy) they 
have, at least (to use the vernacular) given 
them a run for their money. 

If hot, why do the legitimate managers 
rise up and make such protests? 

151 



152 



Photoplay Magazine 



I wonder has Mr. Shubert or any of the 
other legitimate plutocrats seen "The Clans- 
man?" 

If so, can they conceive any more realistic 
way in which that play could be depicted on 
the stage? I think not. 

Sax Francisco. 

Oh, Cruel Ivan! 

Pasadena, Cal. 

March 28th, 1915. 
Photoplay Magazine.. 

Gentlemen : — The way you printed the 
pictures of the players in your April issue 
displeased me very much. Why not print as 
large a picture on every page as you can, 
and have nothing else on that page except 
the name of the player and the company 
that lie or she is with ? I do not like to see 
a lot of border around a picture. 

Ivan W. Dickson. 

A Friend in the North 

Lennoxville. P. Q., Canada, 

March 20th. 1915. 
Dear Sir: — I have read your magazine, 
the Photoplay, and it is the best magazine 
I have ever read in my life. I enjoy it very 
much. The stories are grand. I am going 
to keep on reading the magazine. I have 
read it for a year. 

Yours truly, 

Arthur Crothers 

Brief Praise But Good 

New Bedford, Conn. 

March 10th, 1915. 
Dear Sir: — Photoplayers like to receive 
bits of praise from the people out front. 
No player can give the best there is in him, 
or her, without knowing that it is appre- 
ciated. I appreciate my favorites and want 
them to know it. I want Photoplay to let 
them know it, for Photoplay plays no 
favorites and every player would come in 
for his or her share. 

Photoplay is my favorite magazine. It 
has ever been excellent. Good luck to you. 
Yours, 

Nance O'Neill. 

She Loves Her Husband 

Crete, Ind., March 8th, 1915. 
To Photoplay: 

Photoplay is certainly great. The illus- 
trations are greater, and Mary Pickford is 



greaterest. But Charlie Chaplin is my 
favorite. 

But that is not what I started to write 
about — it was to ask for a little information. 
I am making a collection of photographs of 
actors and actresses that are of Irish descent 
and I like to know who are of that nation- 
ality and who are not. 

I think we outsiders ought to have a right 
to put in a word once in awhile. We pay 
just the same for Photoplay as any one, 
and when that one lives five thousand miles 
from nowhere in an inland town, that 
boasts of two churches, two stores, and a 
schoolhouse — not a sign of a movie within 
six miles. Can you conceive of a life more 
desolate than mine? Do you wonder that 
I feel that I will run over some times ? And 
that I hail Photoplay with such great de- 
light, as my chief pleasure. Then think, 
on top of it all, that I cannot afford a Ford 
even, and publish a few names of your Irish 
actors. > 

I guess I am like some of my Irish 
ancestors — poor and Irish. Proud of it ; 
but very unhandy. 

I will end this all in a love story: I 
would not live in this place if I did not love 
my husband. Yours, 

Marie De Cosand. 

All for Nine Dollars 

Syracuse, N. Y. 

March 27, 1915. 
Photoplay Magazine, 
Chicago, Illinois. 

Sir : We can hardly understand your at- 
titude with regard to the recent publica- 
tion of an article in your magazine, inform- 
ing the public, in just so many words, that 
so-called schools and concerns selling 
photo-playwriting courses, etc., are "no 
good." Good and bad alike have suffered 
severely from this criticism, and we are al- 
most daily receiving the most cutting and 
hard, sarcastic letters from our former pa- 
trons and others, accusing us of being 
"fakirs," etc., and referring to your maga- 
zine as the source of their information. 

We have given 4 times more for their 
money than any other concern we can re- 
call, giving them a Twenty Lesson Course 
which is without parallel, also a set of 
books, rubber stamp outfit and a $5.00 vis- 
ible typewriter, etc., etc., for $9.00. 
Respectfully, 
American Filmograph Co., Inc. 




SW111 



THIS Department is open to questions of anv 
reader of Photoplay Magazine, whether a sub- 
scriber or not. We are eager to serve you, but 
don't ask foolish questions : don't ask questions 
about religion or photoplay writing. For an 
immediate answer enclose a stamped envelope ; 
always do so for lists of companies, etc. Write 
on one side of your paper only : put your name 
and address on each page : always sign your 
name, but give a title for use in the magazine. 
Don't send communications to other Departments 
on the page you write your questions. Address 
vour letters to "Questions and Answers, Photo- 
play Magazine, Chicago." 




I. N., Minneapolis — Enid Markey played oppo- 
site Charles Kay both in "The Power of the 
Angelus" (Domino), and "In the Tennessee Hills" 
(Kay-Bee). A photograph of Grace Cunard will 
be mailed you if yon send a quarter to the Uni- 
versal Film Co., Mecca Bldg., New York. 



Ecdtss A., Alameda, Calif. — Give us brand 
name in asking about those films, just saying 
"Universal" isn't enough. There are ten or fifteen 
brands of Universal films and we have to know 
which one you saw to give you the right informa- 
tion. Antonio Moreno of Vitagraph isn't mar- 
ried. Yale Boss is just old enough to he wearing 
Ills first long trousers. Maurice Costello has not 
separated from his wife. Where did you ever get 
that idea? 

E. L. G.. Foiiest Park, III. — The American 
Beauty studio is at Santa Barbara. Calif. The 
daughter in Kay Bee's "A Midas of the Desert" 
is Elizabeth Burbridge. 



Louis M., Tine Lake, Wis. — The cast of 
Bronchos "The Cruise of the Mollv Ann" is as 
follows : Nell Farrcll— Rhea Mitchell ; John Far- 
roll — Walter Belasco; Captain Tom — Harry Kec- 
nan; and Bill Jones — .Walter Edwards. The spv 
in Thanhouser's "The Emperor's Spy" was Miss 
Kroell. The girl in Broncho's "The Boss of the 
Eighth" is Enid Markey: "Steve" is Walter 
Edwards and "Shorty" is Shorty Hamilton. 



H. M. It, Parkville, Mo. — You are mistaken 
about Ruth Donnelly. You ask who plavs the 
part of the husband, the old man, and the child, 
but don't tell us to what film you refer. Give us 
a clue to work on. Charley Chaplin's companion 
in "A Night Out" was Ben Turpin. Famous 
Players' "A Bachelor's Romance" was four reels 
in length. 



Mrs. V. H. C, Fayetteville. N. C. — Vivien in 
Vitagraph's "Uncle Bill" is Anita Stewart. You 
can see her again in "From Headquarters," re- 
leased on March 16. She certainly is great. 



W E. Mc, Cincinnati — The cast in Kalem's 
"The Fatal Opal" is as follows : Alice Bainbridge 
— Marin Sais : Frank Morton — Douglas Gerrardc : 
Judge Morton — William II. West : and Sandv 
McGee — Paul Hurst. Charles Chaplin is the onlv 
player cast in that Keystone film. 



"Gladys," Columbcs, O.— The children in 
American's 'imitations" were Dwight Young. 
Marguerite Steppling and Claire Gamble. Ruth 
Stonehouse and Bryant Washburn are not related. 
No, Francis X. Bushman says he is not married. 

"Duby II," Mandan, N. D. — Norma Phillips and 
J. W. Johnston have the leads in "Runaway 
June." Certainly, a theater not regularly running 
Essanay films can secure the Chaplin comedies, 
but that is a matter you will have to handle 
through your exchange. J. Warren Kerrigan is 
not married. Players frequently are glad to send 
their photographs to their admirers, but you 
should enclose a quarter at least to cover the cost 
and postage on them. 



R H. C, Atlanta — The complete cast of Vita- 
graph's "413" is as follows : Elaine Hall — Anita 
Stewart ; Tina — Julia Swayne Gordon : Ravmond 
Davis — .Harry Morey : Mr. Hail — Anders Ra'ndolf : 
Baron Barcellos — Harry Northrup ; Sub-chief of 
Secret Service — Paul Scardon. 



J. W. C., Marysville. Kan. — Irene Howlcv is 
with the Biograph Company now in Los Angeles. 
Address her care of the Biograph Company in 
that city. 



Barbara H. S.. St. Paul — Arnold Daly came to 
Pathe from the legitimate stage. You can secure 
a photograph of him by writing the Pathe Freres. 
1 Congress Street, Jersey City, N. J. "Bobby" 
Blethering in Reliance's "Runaway June" is George 
M. Mario. There are to be fifteen episodes of 
"The Exploits of Elaine." Pearl White has been 
married. 

Catherine C, Montreal — Ruth Roland played 
that role you mention in Kalem's "Old Isaacson's 
Diamonds." Players will answer your letters when 
they have time, if you send stamped envelope. 
Ella Hall should lx> addressed care Universal 
Studios, Universal City. Los Angeles, California. 



Billy S., Minneapolis — Peg in Imp's "Peg o' 
the Wilds" was Violet Mersereau. The girl in 
Reliance's "The Studio of Life" was Marguerite 
Loveridge. Hope you win your debate ; go to it ! 

Mrs. R. Williams, Birmingham, Ala. — Photo- 
play Magazine will not recommend to you anv 
school of photoplay writing. "Cut-back" in 
scenario writing refers to the second or third 
showing of a particular scene that has been pre- 
sented earlier in the play. "Screen" and "flash" 
are about synonymous. If you will carefully look 
over the sample scenario published in the March 
issue of Photoplay yon will get a good idea of 
the form in which your script should be prepared. 



Mrs. L. J. D., Warren, Pa. — The cast of Domino's 
"The Friend" is as follows : Grant Keller — Charles 
Ray : Bruce Livingston — Webster Campbell : Daisy 
Edwards — Enid Markey. Charles Chaplin was 
born in England. 

153 



154 



Photoplay Magazine 



Emma L., St. Louis — Florence LaBadic is still 
appearing on the screen. You must have missed 
some of the recent releases in which she was seen. 
"Ruth" in Kalem's "Old Isaacson's Diamonds" 
was Ruth Roland. Crane Wilbur is now with the 
Lubin company. 



Betty G.. Albany — The leads in Kalem's "The 
Girl and the Explorer" were Tom Moore. Richard 
Purdon and Marguerite Courtot. The prince in 
Kalem's "The Theft of the Crown Jewels" was 
Guy Coombs. The cast of Vltagraph's "Shadows 
of the Past" is as follows : Brandon — Harry 
Morey : Mrs. Brandon — Rose E. Tapley ; Mark 
Stetson — L. Rogers Lytton ; Helen — Julia Swayne 
Gordon ; Antoinette — Anita Stewart. Francis X. 
Bushman appears in plays made at Essanay's 
Chicago studio. 



Mrs. G. J. R., PALESTINE, Tex. — Are you sure 
you have the title of that Imp picture right? We 
don't find any such release. King Baggot lias 
been interviewed in PHOTOPLAY Magazine, and yon 
will find more articles about him in the near 
future. Send 15c to Photoplay MAGAZINE, Chi- 
cago, and we shall he glad to mail you a copy of 
tlie issue you missed. 

"Betty from North Carolina" — Wallace Reid 
played opposite Claire Anderson in the last Reli- 
ance picture. At the time this is written "The 
Craven" is the latest release in which Mr. Reid 
is to be seen. Harry Von Meter, not Jack Kerri- 
gan, played "Jim" in American's "A Heart of 
Gold." Mr. Kerrigan is still with American. 
Wallace Kerrigan does not appear regularly in 
pictures. 



G. C. P., Franklin Grove. III. — Cleo Madison 
is unmarried and may be reached by addressing 
her at the Universal Film Co.. Los Angeles, Calif. 
She has appeared in innumerable Universal films, 
among the most recent releases being "Their 
Hour" and "Diana of Eagle Mountain." 



"The 1915 Girl." San Francisco — "Jim" in 
American's "A Heart of Gold" was Harry Von 
Meter. Joseph Kauffman was the player in Lubin's 
"The Furnace Man." Must have ' name of play 
and the brand to answer your other question. 
Just saying "Universal" isn't enough. As to those 
films you call "silly," you will discover that hun- 
dreds and hundreds of other fans think they are 
great. It's hard, you know, to satisfy everybody 
and the manufacturers are endeavoring to provide 
something for all. 



Laura M. O.. Greenland. X. II. — Enid Marker 
was "Pepita" in Kay Bee's "The Fortunes of War 
and the two men who were her suitors are Herchal 
Mayall and Charles Ray. The Keystone player 
appearing as "Ilogan" is Mark Swain. Thanks 
for boosting the department. 



A. F.. Kamloops, B. C. — Why don't you write 
a scenario yourself? There is no place that I 
know of for you to send your ideas to to hare a 
photoplay written. 

Flo and Peggy — See answers to your questions 
under "Photoplayers Constant Reader" and 
"Inquisitive." 



Perma E.. Allentown — You are wrong in both 
cases. Beverly Bayne is not married to Francis 
Bushman, in fact she isn't married at all. nor is 
Ruth Stonehouse the wife of Bryant Washburn. 



Mrs. II. W., Newark — Thank you for your good 
wishes. People who talk while the play is going 
on are pests, that's all. 



G. E. F.. Texas — Pauline Bush is not married. 
Wonderfully attractive girl. 



P. M. C. — James Crime. Marguerite Snow and 
Alice Joyce are married. Florence LaBadie, Mary 
Fuller and Charles Ogle are not. Mrs. Costello 
has taken minor parts in several pictures. Any 
company will take a good synopsis, if the idea is 
original and really good. Harry Bcnham took the 
part of John Storm in "Zudora." 

Dorothy C. Seattle — Jack Pickford is the 
brother of "Little Mary." His picture was in the 
May issue. Marguerite Clarke is unmarried. 



II. II. — The Liberty theatre in New York is 
showing "The Birth of a Nation."a Mutual pro- 
duction. Hundreds of theatres in New York are 
showing Mutual films : enquire at a number of 
them and sec if I am not right. 



Mrs. B. S., Dallas — Miss Turner has been in 
England for the past two years, that is why you 
haven't seen her in pictures. Mr. Farnum is the 
original Ben Hur. Maurice Costello's health is 
perfect — look at him in the pictures and judge 
for yourself. 

C. D. & S. — Warren Kerrigan is with the Uni- 
versal Film Co., address Los Angeles, Calif. Bob 
Leonard and Ella Hall are not married. Address 
them in care of the Universal Film Co. No. of 
course, Cleo Madison was not in "The Master 
Key." How you fans notice things. 



I. K. G. — House Peters played opposite Blanche 
Sweet in "The Warrens of Virginia." Tom, Matt, 
and Owen Moore are brothers. Director Griffith 
is with the Majestic and Reliance branches of the 
Mutual. 



Grace. Glee and Gay — Ethel Clayton appears 
in "The Furnace Man." Tom and Owen Moore are 
brothers. See answer to your other question under 
"Miss Forward." 



No— They're Not Dead 



PRESIDENT WILSON might explain it in terms of psychology, but we refuse to 
try to explain it at all. Every month there sweeps over this country a rumor of 
the death of some star photoplayer and at once this office is flooded with letters, 
asking if it is true that Mary Pickford or Blanche Sweet or Mary Fuller or Mabel 
Normand is dead, or whether Charley Chaplin or Francis Bushman or John Bunny 
or King Baggot have passed to "where it's always double drill and no canteen." 

Last month we received three or four dozen letters asking if Florence La Badie 
had joined the Heavenly Movies. She's the livest thing you've ever seen. Have a 
heart. Why pick on Florence ? We can't afford to lose her. 

Don't worry, fans, keep your seats! With nearly all your favorites the show 
has merely started. Photoplay Magazine has staff correspondents at the front 
wherever photoplays are being produced and if there's any news, you shall have it 
as soon as the current magazine can be gotten off the press. We scooped even 
Dame Rumor on the Alice Joyce news; you read it on the first page last month. 
Don't worry; it'll get you into bad habits and summer is coming! 



Questions and Answers 



155 



Blanche A., New York City. — There are no 
specified number of scenes for one reel photoplays, 
two reel ones, etc. We have seen single reels with 
more than eighty scenes and with less than thirty. 
As a rule, however, we should guess fifty to sixty 
scenes about the average one reel script. Your idea 
of the usual rates is quite correct. You have to 
take what the concern offers you as a rule, but if 
your script is really unusual It will demand a fair 
price. Some companies of course pay more than 
others. 



"Beverly," Richmond, Va. — Owen Moore is a 
splendid actor of juvenile and character roles, 
lie has appeared in Biograph, Victor, Universal, 
Kcllance, Lusky, Famous Players and Imp produc- 
tions and now we learn is to do some work for 
Keystone. lie married Mary Pickford while both 
were playing in the East. We cannot answer your 
third question. 

G. H. G. and M. G. G., Chicago. — Florence 
Lawrence will perhaps have returned to the screen 
by the time this gets into print. We don't know 
on the day this is being written what company 
is to have her services, but she is reported to be 
"coming back" and that very soon. The other two 
players you mention are no longer appearing in the 
movies. Dorothy Davenport is appearing in feature 
films. 



R. B. G., Tyler, Tex. — It is not necessary to 
copyright a motion picture scenario before sub- 
mitting it to the film companies. 



"B Plombus Undm," Chicago. — Max Flgman 
is married to Lolita Robertson, his leading woman, 
and both have been appearing in Masterpiece films. 
That company is located in California, hut we un- 
derstand Mr. and Mrs. Flgman are no longer to be 
cunnected with it. 



"Pbyscylla," Montreal. — Glad you like the 
department. Gilbert Anderson is a very, very live 
man — Don't believe a word of those wild stories 
about this and that popular star being killed. 
They're all "bunk." John Bunny is touring the 
country, and the reason you still see him in vita- 
graph pictures is because the pictures were all 
taken before he left the Vitagraph studios. Chap- 
lin is pronounced with the accent on the first 
syllable. No, Yale Boss is not related to Arthur 
Houseman. We can't agree with you on the serials. 
Some of tbem we thought very good, but it's all a 
matter of opinion. 

Zora E. A., Peterbobo, N. II. — Crane Wilbur is 
now with Lubin. Earle Williams is still on the 
screen. You must have missed some of his pic- 
tures. Pearl White has appeared on the cover of 
Photoplay. King Baggot has appeared opposite 
several different leads. The last picture we saw 
him in Arline Pretty was opposite him. 

"Unicuiquh Suom." New York City. — We don't 
believe the script editors of any of the reliable 
film companies steal ideas from scripts submitted 
and then reject the scripts, but there are some 
companies that might be guilty. Moral — do busi- 
ness with reliable concerns only — the well estab- 
lished and better known ones. 



Mary C, Minneapolis, Minn. — Your first ques- 
tion is too indefinite for us to answer. Give us 
the right brand name of the film and we'll try 
again. Yes. Winifred Greenwood is Mrs. George 
Fields. Mabel Normand is still with Keystone. 
William Garwood had the lead in the American pic- 
ture you name. Yes, the actor you mention is 
married, but his wife doesn't appear in pictures. 
The salaries of the various players we think to be 
nobody's business but their own. 

"Geshw," Chicago. — Yes, Jack Kerrigan, War- 
ren Kerrigan and 3. W. Kerrigan are all the same 
individual. His name is Jack Warren Kerrigan. 
You don't say who made the picture you mention. 
There happen to be three films all of the same 
title. 

Dorothy S.. New York City. — Ethel Clayton 
had that part in the Lubin film yon name. None of 
the players you mention are married — if the press 
agent is to be believed. 



Edwin C. I., Monroe, Wis. — We know of no such 
book. The marketing of your films after you have 
them made is going .to be a problem. Most of 
the exchanges don't take In outsiders. Such firms 
as Warners Features, l'athc, Inc., and World Film 
Corporation buy films but you would have to satisfy 
them of the quality of your product. 

R. J. B. — The National Board of Censorship is 
a volunteer organization of social workers in New 
York City, formed in 1909 on the initiative of the 
People's Institute. A number of civil and social 
organizations were invited by the People's Institute 
to join in the censorship of the pictures and the 
film manufacturers of the country voluntarily con- 
sented to submit their films to this body. The 
members work without salary, with the single ex- 
ceptions of the general secretary and his assistants, 
who are paid. The board is supported by voluntary 
contributions from tiie manufacturers of film and 
public spirited individuals who donate various 
sums. The miser in Domino's "The Mills of the 
Gods" was played by Jay Hunt. 

Montgomery Reader, Montgomery, W. Va. — 
Leah Baird was married some time ago to an ex- 
changeman of the middle west, but still continues 
her work in pictures. Edna Payne and Edna 
Maison are both employed by the Universal Film 
Co. and can be addressed by writing them, care of 
the studios of that company. Universal City, Los 
Angeles, Cal. We cannot answer questions per- 
taining to the religion of this or that player. 
Seneca Trine in Universal's serial "The Trey o' 
Hearts" was played by Edward Sloman. 

Floyd S., Gainsvillb, Ga. — The complete cast of 
American's "Heart of Gold" Is as follows: Jim — 
Harry Von Meter ; Jake — Jack Richardson ; Fred — 
Reeves Eason ; Mary — Vivian Rich and Mrs. Carr — 
Louise Lester. The English lord in Broncho's 
"Shorty Falls Into a Title" was Jerome Storm. 
Jack in Reliance's "A Wife from the Country" was 
Jack Clifford. The other girl in Kalem's "Old 
Isaacson's Diamonds" was Cleo Ridgeley. You'll 
have to tell us which brand of Universal that film 
was. Universal has so many different brands that 
it is almost hopeless for us to find the cast sheet 
without knowing which brand to look under. To 
find out about the Essanay prize winners write 
Essanay Film Co., 1333 Argyle St., Chicago, 111. 

Gretchen McE., St. PAUL, Minn. — Harold Lock- 
wood is no longer with Famous Players but soon 
will appear in productions made by the American 
Film Manufacturing Company at Santa Barbara, 
California. 



Felicia L. R., BnowNwooD, Tex. — Bryant Wash- 
burn is the husband of Mabel Forrest, who also 
appears in Essanay pictures. Their pictures ap- 
peared in the April issue. But the others you name 
are unmarried. We can't tell you the exact locality 
where the scenes in that Mrs. Fiske picture were 
taken, but perhaps if you were to enclose a stamped 
envelope for a reply and write the publicity depart- 
ment of the Famous Players Film Company, of 
New York City, you would be able to learn. The 
leading players in "The Spoilers" were William 
Farnum, Kathlyn Williams, Bessie Eyton, and 
Thomas Santschi. Jack Kerrigan was born in 
Louisville, Ky. 



J. L. F., Jersey City, N. J. — "Julius Caesar" 
was produced by the Ones Company of Italy. The 
same firm made "Quo Vadls" and many other big 
features. No, the entire production does not have 
to be enacted all over again when a film is worn 
out. The negative is not exhibited — it is only 
the positive prints which are made from the nega- 
tive that are shown in the theaters. 



F. W. B., Madison, Wis. — Yes, to your first 
question. Just send the synopsis of your story to 
those companies. They don't want scenarios of 
the usual kind showing the action scene by scene. 
Such a scenario is prepared by experts in the 
employ of the film company from the synopsis 
you submit. Ford Sterling did not appear in Key- 
stone's "Sea Nymphs." The actor you mistook for 
him was only made up the same as Sterling used to 
make up. Mr. Sterling was at that time in the 
cmnloy of the Universal Company but is now back 
with Keystone. 



156 



Photoplay Magazine 



Miss Georgette P., Passaic, N. J. — Crane Wil- 
bur has left Pathe Freres. but instead of being in 
vaudeville as you suggest he is now acting in Lubin 
Alms. The brand of Sim for which the letters 
"A. P.." in a circle form the trademark is Biograph. 
The letters stand for "American Biograph." 

Mas. B. S., Cincinnati, O. — Of the players you 
name Buth Stonehouse is the only one known to 
be married. Her husband is Joseph Roach. 

A Movib Fan — Marguerite Snow is Mrs. James 
Cruze in private life. The Mutual company sends 
•'Reel Life" only to exhibitors. It's a house organ. 

V. G., South Chicago — Of course, I'm not angry 
at you. I hope that you will write to me whenever 
you feel in the mood to do so. I have not heard 
that Warren Kerrigan is engaged. Careless of him 
not to let me know, if he is. 

S. B., New Orleans — Your request for an inter- 
view with your favorite will be granted as soon as 
possible. 

Gladys B. — To be on the safe side you had 
better send 25c for the photograph. The address 
of the American Film Co. is Santa Barbara, Calif. 
It was Harold Lockwood who played opposite 
Marguerite Clarke in "Wildflower." I do not 
understand your other question, make it more clear. 

A. D. J., Washington — Alice Joyce was with the 
Kalem company at Jacksonville during the winter. 
The pictures in which Marguerite Clarke appeared 
were taken in California. 

Mignon — Beatrix Michelena played the lead In 
"Mignon," a California M. P. Corp. production. 
Send 25c and we will prepare that list of player* 
for you. 

0. C. B — Surely. Keep after it Every effort in- 
creases your ability as a writer. The letters you 
received from the scenario editors sound very 
encouraging. 

B. Lex — Marguerite Loveridge takes the part of 
Tommy Thomas in "Runaway June." If you want 
Miss Leonard's photograph write to her personally. 
You will have to state your other question more 
clearly. 

Interested — Tom Moore played the lead In 
"The Cabaret Singer." You refer to Ruth Roland 
in "Old Isaacson's Diamonds." Florence LaBadie 
has appeared in many pictures besides the "Million 
Dollar Mystery." 

B. S., Buffalo— Maurice Costello is still ap- 
pearing in Vitagraph pictures. He's busy as a 
director, too. Irene Warfield was the leading lady 
in "Blood Will Tell." Essanay. I don't see why 
you think they ridicule all ministers in the pic- 
tures. A play to succeed is always based on well 
known human characteristics, emphasized suffi- 
ciently to make the point strike home. 

Blondy — If you write Miss Stewart you might 
say you would like to hear from her. William 
Clifford is married. The mother in "Mother's 
Roses" was Mary Maurice : the daughter, Dorothy 
Kelly, and the son, James Morrison. Glad to hear 
that you are a Photoplay Magazine enthusiast. 

June B. — Write to the Publicity Department of 
the Universal Film Co., Mecca Bldg., New York, 
and perhaps he can get you one of Ella Hall's 
autographed photographs. Yes, I think that you 
had better send 25c for the picture of Universal 
City. 

E. K. — If you go to any public stenographer in 
any large office building, you can get your scenario 
typewritten. Have it neatly prepared with good 
margins and double spaced lines. 

Peggy — Address Lillian Walker personally, we 
will gladly forward your letter. Blanche Sweet is 
with the Lasky company at Hollywood, Calif. 
Mabel Normand with tbe Keystone in Los Angeles. 
Mo trouble at all, write often. 



W. M. H., Pittsburgh — No, none of the players 
you mentioned is married except G. M. Anderson, 
and his wife is a non-professional. Florence Law- 
rence has left the movies, temporarily at least. 
Fred Mace is with the Peerless company. Irene 
Boyle is a member of Kalem. Lottie Piekford is 
taking the lead in the new serial. "The Diamond 
from the Skies." E. H. Calvert is with the Essanay. 

Cissy Hopkins — The Box Office Attraction Co. 
and the World Film Co. are two separate corpora- 
tions, the first now being known as The Fox Film 
Co. It is very necessary to have a scenario type- 
written, because editors refuse to spend valuable 
time solving handwriting riddles. 

E. K. — The only way I can suggest for you to 
get a photograph of Ella Hall and Robert Leonard 
is to write the publicity director of the Universal 
Film Co., Los Angeles, Calif., and tell him that 
you would like the pictures. Send 25c for each. 

A Reader — Mary Piekford is married to Owen 
Moore. He has just joined with the Keystone 
company. They have been married about four 
years. 

D. M., Detroit — Kathlyn Williams will soon be 
seen in "The Ne'er Do Well," a photoplay that 
was taken in Panama a short time ago. The storv 
is from the pen of Rex Beach and is one of his 
best stories. 



A Movie Fan — For answer to vour questions I 
refer you to B. K. and "Photoplayers Constant 
Reader." 



Studio Directory 

For the convenience of our readers who mav de- 
sire the addresses of film companies we give below 
a number of the principal ones : 

Universal Film Mfg. Co.. Mecca Bldg.. New 
York City or Los Angeles. Calif. 

Thomas A. Edison, Inc., Orange, N. J. 

Essanay Film Mfg. Co., 1333 Argyle Street, 
Chicago, or-Niles, Calif. 

Famous Players Film Co.. 213 West 26t:i St., 
New York City or Los Angeles, Calif. 

Kalem Company. 235 West 23d St., New York 
City ; Jacksonville, Fla. : or Hollywood, Calif. 

Lubin Mfg. Co., Indiana and Twentieth, Phila- 
delphia. 

Mutual Film Corporation. 71 West 23d Street. 
New York City, or Los Angeles. Calif. 

Selig Polyscope Co., 20 East Randolph, Chi- 
cago, or Glendalc, Calif. 

Vitaguapii Company, Locust and East 15th St.. 
Rrookiyn, N. Y. 

Thanhouseii Film Corporation. New Rochollc, 
N. X. 

Bosworth. Inc.. 220 West 42d St., New York 
City, or Los Angeles, Calif. 

Lasky Feature Play Co.. 120 West 41st St., 
New York City, or Hollywood. Calif. 

Eclair Film Co., 225 West 42d St., New York 
City. 

Pathe Exchange, 25 West 45th St., New York 
City. 

Reliance-Majestic, 29 Union Square, New York 
City, or Los Angeles, Calif. 

Keystone Company, . 1712 Allesandro St., Los 
Angeles, Calif. 

Biograph Company, 807 East 175th St., New 
York City. 

N. Y. Motion Picture Corp., Longacre Bldg., 
New York City, or Santa Monica. Calif. 

California Motion Picture Corp., San Fran- 
cisco. 

Gaumont Company, 110 West 40th St., New 
York City. 

Kriterion, 1600 Broadway, New York City. 

World Film Corporation, 130 West 46th St.. 
New York City. 

George Kleixe, Inc., 166 North State Street, 
Chicago. 

Fox Film Corp., 130 West 46th St., New York 
City. 

American Film Corporation. 6227 Broadway, 
Chicago, or Santa Barbara, Calif. 



Photoplay Magazine — Advertising Section 



157 




Cf/Hiht. V. S. A. MIS, tl 
Tht B.V. D. Companr. 



"That's Your 
[; Friend, The 
B.V.D. Label, 
Boys!" 

ake a mental snapshot of that Red Woven 
Label, Tom, and you won't be fooled as I've 
been once. Now, they can't sell me anything 
but B.V. D. Underwear. I'm just as particular about 
my underclothes as I am about my outer clothes. 



1 i 



" I prefer B. V. D. because it feels so soft and fits so good. 
Take my word for it, it's certainly cool and comfortable, 
washes up like new and gives me no end of wear. I don't 
buy, if the B. V. D. Red Woven Label is missing." 

On every B.V. D. Undergarment is sewed This Red We've* Label 
MADE FOR THE. 



B.V. D. Union Suits (Pat. 
U.S.A. 4-30-07) SI. 00, SI. 50, 
$2.00, S3. 00 and S5.00 the Suit. 






B.VD. 



B.V.D. Coat Cut Undershirts and 
Knee Length Drawers, 50c, 
75c, $1.00 andS1.50the Garment. 



JECT RETAjlTRADE I 

( Trad, Mart Rie. U.S. Pat. Of. and Torticn Ccuntriti) 

The B.V.D. Company, New York. 

London Selling Agency: 66, Aldermanbury, E. C. 



158 



Photoplay Magazine 



J. E. D., Ontario — You will find answer to your 
question under "Miss V. H." 



H. L. W., New York — The man that you asked 
me about is not in the cast of the Lubin picture 
"Beneath the Sea." ■ I would suggest that you 
write to the Lubin company, sending in the name 
of your old friend and if he is a member of their 
company they will be glad to let you know. 



C. Q., New Bremen — Miss Nansen has come 
over from Denmark to appear in pictures for the 
Fox Film Company. And she's a wonderful 
actress, too. 



Subscriber — I have read the clippings that you 
sent and it seems to me that the censorship board 
must be having quite a hard time in Columbus. 
Public opinion is the best censor there is. 

S. L. — Because you said so many nice things 
about our magazine we are going to be nice too 
and have a picture of your favorite in our gallery 
soon. 



Marguerite Snow Admirer — Edith Storey, 
Beverly Bayne, Richard Travers and James Morri- 
son are not married. Norma Talmadge is not Mrs. 
Moreno in private life, nor is Mary Fuller. Mrs. 
Ogle. Regarding Ruth Stonchouse, see R. R.. 
Monroe, N. C. Indeed I do think that Marguerite 
Snow is a splendid actress. 

A. D., Hartford — For answer to your question 
I refer you to J. J., Washington, in this issue. 

Mrs. K. F. P.. Wilmette — Crane Wilbur is now 
with the Lubin. though he was with Pathe for a 
number of years. 



H. B.. Sax Rapaei. — Mabel Norman is not mar- 
ried. Thank you for the kind words. 



F. IT. — Kindly give me the name of the com- 
pany that produced the play you speak of. You 
will find answer to your other questions under 
C. D. S., "Inquisitive" and " rhotoplayers Con- 
stant Reader." 

I will 



M. E. S. — Send your questions to me. 
gladly answer them. 



Hei.kx II. — There are no large studios located 
in Denver. Numerous stenographers are employed 
at a moving picture plant. Some film favorites 
have their private secretaries, while others prefer 
attending to their own affairs. 



J. C. B., Cleveland — Editors generally have re- 
jection slips which they put on a scenario when it 
is returned. It doesn't make any particular dif- 
ference, but I think I would let. the company name 
the price. Then if they were not willing to pay 
a sufficient amount you could take it elsewhere. 



E. K. — Kindly give me the name of the com- 
pany that produced the play you mention, and I'll 
l>c glad to trace the matter further. 



D. A., Chattaxooga — For answer to your ques- 
tion see "Madelin F., Detroit." 



C. E. P.. MixxEAroi.is — Thank you for your let- 
ter. You have offered some very good suggestions 
and I appreciate your interest very much. Miss 
Bayne is a Minneapolis girl. 



N. T. T. — I guess that you don't understand that 
tilts isn't a studio and we haven't any need for 
stage hands. I would suggest that you write to 
some film company and ask if they are in need of 
mechanical assistants. 



F. R. — The same for you as N. T. T. 



J. J., Washington- — Marion Leonard is still in 
movie land. Trunnelle is pronounced as if it were 
spelled "true-nell." Glad that you think the maga- 
zine instructive. Write again some time. 



E. G. — You refer to Van Dyke Brook, the middle- 
aged man who plays with Norma Talmadge and 
Leo Delaney. 



Y. M., Frisco — See A. S., Pittsburgh, for answer 
to your question. 

A. G., Kansas City — You could not start right 
In as leading lady. At first you would have to 
take extra parts, and then, if you seemed to have 
any -talent, you would undoubtedly be given larger 
roles. There are so many in the field at the pres- 
ent that there isn't much chance for a beginner, so 
I really discourage the idea of starting without ex- 
perience. It is one of the most serious lines of 
work there is. Suppose you wanted to be a lawyer 
or a doctor ; would you expect to start right in 
with a good practice? 



Lura. Iowa — I refer you to Mrs. K. P. F., Wil- 
mette. in this issue, for answer to your one ques- 
tion concerning Crane Wilbur. He has been mar- 
ried, but is now a widower. 



K. — Rita Stanwood played opposite H. B. Warner 
in "The Ghost Breaker." Beattiz Michelena is 
with the California Motion Picture Corporation. 
I think that small cities can stand the feature 
pictures as well as the larger ones, don't you? 
Your town should have "Mignon." It is a won- 
derful play. 



Kerrigax Kompaxy — The Mutual and Keystone 
have companies in Los Angeles. Some of the other 
large studios are located in suburbs just outside 
of Los Angeles. Mr. Laemmle is at the head of 
the Universal. I would write to Mr. Kerrigan and 
explain the circumstances, and I haven't a doubt 
but he will send you the photograph. But don't 
be a sponge ; send a quarter. 



L. D., .Tamesburg — Miss Talmadge and Antonio 
Moreno arc not married. 



W. M. II., Binghamtox — The majority of the 
large companies issue instruction sheets. I do not 
recommend a. scenario school. Would you expect 
to become a Jack London or a Booth Tarkington 
in a few lessons? 



A. E. T. — Signe Alien, Francelia Billington and 
Florence La Badie are not related in any way. 



1". S.. Kansas City — Mary Fuller is not married. 
See answer to your other question under "A 
Reader." 



A. D. E. — To both of your questions I answer 
"No." If a magazine story is used, all rights to 
that story must be purchased from the magazine 
by the producing company. 



Myrtle A. — Mary Fuller is with the Universal. 
You may address her care Photoplay Magazine, 
Chicago. Arthur Johnson is married. I refer you 
to L. P. C. O., in this issue, in answer to your 
other question. 

A. H., Portsmouth — In answer to your first 
question, see "R. R. Monroe. N. C." Miss La Badie 
may appear in some of the last episodes of "The 
Twenty Million Dollar Mystery." 



E. T. M. — You will find answer to your first 
question under "I'hotoplayers' Constant Reader." 
If I were in your place I do not believe that I 
would write to Mr. Cruzc. 



Miss Forward — Tom Moore and Marguerite 
Courtot in "The Cabaret Singer." Miss Courtot 
is not married, but Mr. Moore is the husband of 
Alice Joyce. 



Pexnys Pa — Miss Irene Boyle plays the part of 
the doctor's wife in "The Primitive Instinct." 
The "Adventures of Kathlyn" and "The White 
Mouse" were taken in California. Helen Holmes 
was the operator in "The Operator of Black Rock." 
I am glad that you think so much of Photoplay. 
Watcli the next few issues. 

.(Continued to Page 160) 



Photoplay Magazine — Advertising Section 



159 



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160 



Photoplay Magazine 



10. E. I\, Ki.kii.iiit. Ind. — That's the Idea, be 
versatile ! Go after tbe big ones and -the little 
ones alike. Charlie Chaplin is not married, but 
King Baggott is though to a non-professional. 
Chaplin is with Essanay at Hollywood, Cal., and 
Baggott is with Vitagraph in Brooklyn. If you 
are going to do any kidding, try it on the King — 
he doesn't carry a cane so freely. 



C. W., Fiasco— Hope you and the deserted min- 
ing camp get along with each other fine. It will 
be some consolation to know that Marguerite 
Clarke is not married and that she may be ad- 
dressed care Famous Players Film Company, 213 
West Twenty-sixth street, New York City. Very 
likely she would send you her photograph, but lie 
sure to send postage. Good luck to the modern 
Argonaut. 

Miss E. S., McKeesport, Pa. — Ethel Clayton is 
not married to Joseph Kaufman, nor Is King Bag- 
gott married to Leah Baird. Did you see Miss 
Clayton in "The Blessed Miracle?" Don't she 
and Kaufman handle that play wonderfully? 



E. h., Los Angeles — The principals in the John- 
son-Jeffries fight got very little from the moving 
pictures, as the exhibition of them was barred in 
nearly all of the larger cities. The royalty was 
never made public, but it is known that they did 
not prove tne gold mine that was anticipated. 
Vitagraph took them and did the releasing. 



Henry King's Loyal Friend— Owen Moore is 
Cleo'a sweetheart in "The Battle of the Sexes" 
(Mutual). What you folks want is a daily bulle- 
tin about your movie friends, but Photoplay fea- 
tures players of all companies, and we sball prob- 
ably get to Henry before long. He's mighty good. 

A Header, Grand Forks — Photoplay accepts 
many short stories if they are of the sort that you 
find in the current issues. There is no rule regard- 
ing the length of time it takes to get scripts back 
from film companies. If of no use to the pro- 
ducer, they are usually returned at once, but in 
a case where the availability is doubtful, a meri- 
torious manuscript is often retained for some time. 



Annie M. M., Chicago — Florence La Badie's ad- 
dress is Thanbouser Company, New Rochclle, N. Y. 
You will find ninny pictures of her in an interesting 
interview in August, 1914, Photoplay. The whys 
nnd wherefores of Jimmie Cruze are all explained 
in September Photoplay of that year. 

John W., St. Paul — Charlie Chaplin is at the 
Kssanay Studio, Niles, Cal. 

Caloptical — You will probably find a lot of in- 
teresting information regarding Dustln Farnum In 
tlie roles you mention in an interview to appear 
shortly. Watch for It ; you'll like it. 

Gordon K., Superior, Wis. — "Smiling Eddie" 
Lyons was born at Bcardstown, 111., in 1886, and 
at present he Is with the Universal. You will 
lind a mighty interesting interview with him (lots 
of pictures) In March Photoplay. Arc visitors 
permitted at Universal City? Why don't you ask 
if visitors are permitted at the exposition ? There 
were more people at the opening of Universal City 
than attended the opening of the fair. Lenore 
Ulrich is playing for the Morcsco productions and 
very likely will lie featured in other plays than 
"The Bird of Parardise." though nothing has been 
announced to that effect. A wonderful player, 
with wonderful management ; her great success is 
assured. 



Cecelia S. — I turned your "Seen and Heard" 
contribution over to the joke editor. You ought 
to see him In action. He's one of these New York 
newspaper men, and he has gotten so that he can 
read jokes all day an: never crack a smile. We 
had quite a lot of stuff on Cleo Madison in the 
February issue ; a story by Cleo herself. 



Adrians G., Cambridge — Norma Talniadge is un- 
married. Marguerite Snow and Jimmie Craze 
have children, and they have played in the 
movies. 



K. C, Daxbiry, Conn. — The best way for yon 
to secure that special photograph is to write to 
the publicity department of the Universal Film 
Company at Los Angeles, describing the pictim- 
and asking the price. 

A Subscriber — Your scenario must be typewrit- 
ten. It is not necessary that you buy a typewriter 
just to write one story. Either rent a typewriter 
or go to some public stenographer where you can 
have it done for a reasonable price. 



C. C. V., Wilkesbarue — William Farnum dors 
not pose regularly for the Sclig Company. See an- 
swer to Mrs. K. P. F., In this issue, for answer to 
your other question. 

A. W., Dayton — Beverly Bayne is 20 years old 
and is not married. Charles Chaplin is single, too. 



M. B., Washington — Kindly give me the title 
of that play and by what company it was produced, 
and I will be glad to answer your question. J. 
Warren Kerrigan. .Tack Warren Kerrigan and War- 
ren Kerrigan are one and the same man. 



P. F., Trenton — For answer to your question 
see R. R. Monroe, N. C. 



C. S. M.. Rome, N. Y.— See "A Subscriber" for 
answer to your question. 



H. C. — Florence La Badie is still appearing in 
Thanhouser photoplays. I haven't the slightest 
idea why they didn't put her in "Zudora." I refer 
you to "Inquisitive" for answer to your last ques- 
tion. 



E. A., Great Falls, Mont. — Address letters to 
Lasky Feature Play Company, 220 West Fortv- 
eighth street, New York City. 

N. O., Bronx — The companies with studios in 
New York City arc Biograph, Vitagraph, Colonial. 
Edison, Famous Players, Kalem, and Universal. 

R. H. S. — Your first question is answered trader 
"Photoplayers' Constant Header." The best way 
for you to do would be for you to write to the 
publicity department of the Thanhouser Company, 
stating that you would like Miss La Badie's pho- 
tograph. Send 26 cents to cover expense of send- 
ing picture. 



M. N., Baltimore — Mr. Bushman's middle naun- 
is Xavier. Marguerite Clayton is not married to 
G. M. Anderson. 



Mrs. E. S. — I thank you for your information 
and also for your kind words about the Photoplay 
Magazine. Miss Jeanie MacPherson is with tile 
Lasky Company. 



A. S., Pittsburgh — None of the players that 
you mention is married. 



J. J., Pittsburgh — Same to you, J. J. 

Mrs. G. F., Maywood — From your description I 
think that you must be referring to Charles Chap- 
lin. You know he is noted for wearing trousers 
large enough for a young elephant. 



Mrs. IC, Schenectady — The Keystone have a 
staff of scenario writers, but they are in the photo- 
play market just the same. 



L. P. C. O. — Clara Kimball Young is married to 
James Young. They are both with the World 
Film Company. Her maiden name was Clara Kim- 
ball. Miriam Nesbitt is not the wife of Marc Mc- 
Dermott. I am sure that Miss Nesbitt and Mr. 
McDermott will be pleased to hear that thev are 
your favorites. 



A. G. C. — Your guess is correct. Fay Tlncher 
played in "Bill." The Thanhouser Kids are still 
In the movie ranks. Florence La Badie is 20 years 
old. You might try a letter. For answer to your 
other question see "Movie Fan." 

(.Continued to Page 16S) 



Photoplay Magazine — Advertising Section 



161 



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Photoplay Magazine — Advertising Section 




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"Lady Kaffi.es" — You were right, Francis 
Ford's brother played In "The Mysterious Hand." 
"Three Bad Men and a Girl" and "The Call of the 
Waves." None of the ones you Inquired about is 
married. 



Annie C. H., Portsmouth — Florence La Badie. 
I repeat, is not married. She has large light 
blue eyes. The Fairbanks twins have brown eves. 



St. Paul C. — George Larkin is married, his wife 
being Dolly Larkin. Cleo Madison is not married, 
nor is Florence Waleamp. but William Clifford and 
Florence Lawrence are. 



Flay Rice — Anna Little took the leading part 
in "The Link that Binds." Muriel Ostriche has 
left the Thanhouser. Why so interested in "Al- 
most Married"? 



Beverly G. — Miss Gertrude Robinson is no 
longer with the Biograph Company. None of the 
players you mention is married except Carlvle 
Blackwell, and his wife is not an actress. 



E. K., Holstein, Ia. — None of the players yon 
mention is married except Grace Cunard and Doro- 
thy Davenport. Dot is the wife of Wallie Keid 
of the Majestic Company. "The Trey of Hearts" 
and "Kathlyn" have been published in l>ook form. 
The magazine has been sent to vonr friend, and we 
know she will like it. 



A. M., Butte — -Read what Captain Peacocke has 
to say. He knows the game from A to Z. 



L. .7., Jr., Louisville — Antrim Short took the 
part of Willie Corson, in "Dad." You refer to 
George Morgan in "The Crimson Moth." 



Jcdy G. — Jere Austin took the part of Dr. Brent 
in "Nina of the Theatre," a Kalem production. 
The player that you mention is not married. 



Xleo, Tiffin, Ohio — Again, I say, Miss White 
was married to a non-professional. Crane Wilbur 
question I refer you to Mrs. K. P. F., Wilmette. in 
this issue. There are fourteen installments in the 
first and about that number in the second serial 
of the "Exploits of Elaine." Pearl, Glen and Leo 
White are not related. Arnold Daly. Sheldon 
Lewis and Creighton Hale are all members of the 
Pa the stock company. 



M. Grave. Milwaukee — Try to give me the name 
of the producing company when asking about a play. 
The Evening Sun is a New York newspaper. The 
Dramatic Mirror is a theatrical paper. Thev are 
both published in New York, so you will have to 
send your subscriptions there. Ruth Stonehouse 
is married, so is Carlyle Blackwell. Helen and 
Dolores Costello are daughters of Maurice Costello 
of the Vitagraph. For answer to your last ques- 
tion see "A Subscriber." 



L. II., Waterloo — We shall l>e glad to forward 
a letter to "Pearl K." and she probably would be 
glad to hear from you. Try it and see. 



Miss E., San Jose — House Peters has been in 
the movies over a year. He is 33 years of age. 
You are right ; Page Peters is his brother. Find 
other answer under M. B. S. 



of 



I. M., Montreal — Edith Taliaferro took the par 
Nellie in "Young Romance." Tom Moore i 



with the Kalem Company ; Alice Joyce has left 
the company. Miss Stewart first starred in "The 
Wood Nymph." No trouble at all. 



R. Y., Hillsboro — Thanks for your remark about 
the novelization of "The Trey of Hearts." Mary 
Pickford is very much alive and is still appearing 
in pictures at the Famous Players studio in Los 
Angeles. None of the players you mentioned is 
married. 



Photoplay Magazine — Advertising Section 



163 



II. M. Jr.. Maine — I am sorry but there is no 
record of the casts that you asked for. See under 
"L. I*. C. O.' 'for answer to your other question. 
I am slad that you are a photoplay fan ; it's the 
only life ! 



M. L., Quebec — The only ones that arc married 
on your list of photoplaycrs are Ruth Stonehouse 
and Francis Ford, though not to each other. 



W. A.N. — Mabel Normand is not married. By 
all means write for her photograph. She will he 
only too glad to send you one under those circum- 
stances, but don't be a sponge '. Send a quarter. 



IIahold E., Aiierdekx. Wash. — That scenario 
appeared in March Photoplay. Will l>e glad to 
send you one on receipt of 15 cents. It is a 
mighty good form to follow. 



Madblin F., Pkthoit — So many of the stage 
stars are now going into pictures that there isn't 
much chance for an inexperienced person. Of 
course all companies need extra people and you 
could undoubtedly secure a position as extra girl. 
The screen stars who have made good without ex- 
perience got into pictures just at the right time. 
By that I mean when the business was young and 
before it was possible for the companies to secure 
the stage folk. Maurice Costello is still acting 
and directing for the Vitagraph Company at 
Brooklyn, N. Y. Alice .Toyce is married to Tom, 
not Owen Moore. Beverly Bayne is single. 



J. J. S. — The Imp releases through the Univer- 
sal. Arthur Johnson is still with the Lubln. 
though he spends more time directing than he does 
acting. The cast of the "Strength of the Weak" 
follows : David Fleming, Bryant Washburn ; Lalia 
Fenton, Gerda Holmes ; Mm. Fleming, Helen Dun- 
bar ; Mrs. Fenton, Camille D'Arcy ; Stanford Black, 
Lester Cuneo. Send 15 cents for any issue of 
Photoplay that you desire, but state plainly the 
one you want. 



A. E. W. — Guy Coombs was Fliriii in "The 
White Goddess." Yes. you are right : be was with 
the Kalem about a year ago. 



M. P.. S. — It. House Peters is married to a non- 
professional. 



Helen Darling — Write to the publicity depart- 
ment of the companies and state that you would 
like the photographs of certain players. It would 
he proper for you to send 25 cents to cover the 
cost of the picture. Anita Stewart is just 1ft. and 
is not married. Earle Williams is still a Vita- 
grapher. 



Inquisitive — Ruth Roland, Beverly Bavne, Flo- 
rence La Badie, Edith Storey, Ethel Clayton, Ella 
Hall, Mabel Normand, Charles Chaplin and Richard 
Travcrs are not married. Tom Forman and Edith 
Taliaferro were in "Young Romance." 



ItBMTJS — Miss Storey is not married to Earle 
Williams. She did appear with another company, 
but then returned to the Vitagraph. 



M. S. .T. — Harold Lockwood is now witli the 
American Film Company. The reason for the two 
different statements was because the one was an- 
swered before he left the Famous Players and the 
other after he had joined the American Company. 



PlIOTOPLAYERs' CONSTANT READER Mr. and 

Mrs. Cruze have a little daughter, named Julie, 
who sometimes appears in pictures. Florence Law- 
rence is not married to Owen Moore, nor is Earle 
Williams married. Mary Pickford is the highest 
salaried photoplay actress in the world, but she 
certainly is worth it to millions of fans. 



"Tilto Tita" — William Garwood took the part 
of the son in "Old Enough to Be Her Grandpa." 
There will be a Dustin Farnum interview as soon 
as it is possible to arrange one, Tilto. 



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164 



Photoplay Magazine — Advertising Section 



PHOTOPL^ 



WANI2 




.^wProfessionronstant- 

5=-:demand, Prices paid ranqe ' 

^sa^osstnsinnV 

Film producing companies 
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Dozens of other important points necessary to success. 
Includes sample play to illustrate every point and full list 
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Every question answered—everything clear and plain. No 
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instructions have fuller points than courBe I paid $20 for." 
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Please Mention Photoplay Magazine 



Mildred B., Winnipeg — Miss Ethel Clayton is 
with Lubin, at Indiana avenue and Twentieth 
street, Philadelphia. The usual amount sent tor 
a photograph is 25 cents. 1 have given Miss An- 
derson's name to the editor and lie will interview 
her as soon as possible. Glad that you like the 
magazine so much. It's built to please you people. 



M. M. F., JACKSON — To tell you the truth, I 
think that he is married, but as I have no abso- 
lute proof I will have to take the word of the 
press. They are supposed to know everything. 



M. A. T., Brooklyn' — The man sitting on the 
floor on page 93 of the September Photoplay is 
"Sweedie," Wallace Beery of the Essanay Com- 
pany. 



E. M. B. — Write to the Essanay Company at 
1333 Argyle street, Chicago, 111., for information 
about the contest. 



L. C. T., Lexington — Unless you have had some 
experience I do not advise you to go into the 
movies. You would be very foolish to give up a 
sure thing for something uncertain. When people 
realize that acting for the movies is a very sub- 
stantial business they will realize why we are so 
ready to discourage enthusiastic novices. 



I. D., Grand Rapids — Beverly Bayne is single ; 
are you glad? She lives in Chicago, by the way. 



E. B. C. — Almost any company will accept a 
story that has an entirely new plot. Under these 
conditions an amateur lias a chance to sell a 
photoplay. 

'■Inquisitive, Trenton" — Mary Piekford is with 
the Famous Players Film Company. Address 213 
West Twenty-sixth street, New York City. Send 
25 cents to the publicity man of the Famous Play- 
ers Company and lie will attend to the photograph. 
Miss Piekford makes $100,000 a year, and she's 
worth it. 



.T. F. — I am glad that you are so alert. Keep 
watching. 

M. Cole — Miss Blanche Sweet did not appear 
in the photoplay that you mentioned. Address the 
Lasky, publicity department, at 220 West Forty- 
eighth street. New York City. 



Peggy — Preserve your equanimity. Head my 
note to you fans at the head of this department. 
No, thuli. La Badie is still with us and you will 
have a chance to see those beautiful eyes a great 
many times — on the screen. 



Priscilla Fax — No, again, you are mistaken, 
Priscilla, for Mr. Bunny is not dead ; in fact, he 
is healthier than ever and is still gaining in 
weight. Did you read the introduction to this 
department? 

Cortis E. — Mary Piekford is the highest salaried 
person in picturedom. That will settle all argu- 
ment, will it not? 



Marguerite, L. W. — See answer to your question 
under "Inquisitive," in this issue. 

R. M., Hartford, Conn. — Address Robert Leon- 
ard and Ella Hall, in care of Mecca Building, Uni- 
versal Film Company, New York City. I do not 
agree with you at all, for 1 do not think Miss 
Cunard is foolish in reel or real life. For answer 
to your Snow question see "Photoplayers' Con- 
stant Reader." 



Cabaret — Billie West is with the Mutual Film 
Company. You will note that her name is spelled 
"Billie," instead of "Billy." 



S. 3., New Rociiei.i.e — Eugene Palette is con- 
nected with the Majestic-Mutual. 

K F. — George Fisher took the part of Gordon 
Elliot in "The Scrub," a Domino production. 



Photoplay Magazine — Advertising Section 



165 



I. O. U. C. Racine — Miss Ethel Clayton appears 
in many pictures produced by Luuin. Ask the 
theatre manager to get you the Lubin releases with 
Miss Clayton. Warren Kerrigan is not married. 
You may have to wait, and send stamped envelope 
for an answer to your question unless you want a 
personal reply. Write to Miss Clayton and tell 
her how much you like her acting. I am sure that 
she will appreciate it. 



P. Ft., Kenxey. III. — Antonio Moreno was on 
the stage for a number of years before he joined 
the Vitagraph Company. See "Inquisitive - ' for 
answer to your other question. 



Miss D. G. E. — .T. W. Johnston played opposite 
Bessie Barriscalc in "Rose of the Rancho. ' Mr. 
Johnston is a very versatile and talented actor. 



Alpha — Kindly state the producing company 
when asking about plays. You refer to Robert; 
Leonard in "The Master Key." 



Babe — Creighton ITale is with the I'atlie Com- 
pany, lie is not married. 



M. T. IIeikei.man - — You are mistaken. Carlyle 
Blackwell's wife did not play witli him in "The 
Man Who Could Not Pail." Mrs. Blaekwell is a 
non-professional. Sid Chaplin is a brother of 
Charles Chaplin. His picture was in the May issue 
of Photoplay. Sid isn't tall, but about the size 
of Charley — why say more? 



K. P., Kex.ney, III. — Mary Fuller is with the 
Victor-Universal Company. .Miss Beverly Bayne 
will appear in "Graustark." Vera Sissoh is not 
married. 



Li. J. M. — Don't get impatient. Lillie Leslie, 
one of your favorites, appeared in the May issue. 
Yout other friends will be interviewed as soon as 
it is possible for the editor to arrange it. 



Sylva O. — You refer to James Craze in "Zu- 
dora." 



M. P. II. — Yours is the sort of a letter I like to 
get. Come again. The east for "Winning Him 
Back" is as follows : Ruth Castle, Clara Williams ; 
Rex Castle, Harry Keenan : Yvette, Louise Glaum : 
Wallace Castle, George Fisher. I am sure I'leo 
Madison will be glad to hear from you. 



B. A. IIasseht — Harry Carter is with the Uni- 
versal Company, Mecca Building, New York City. 
Try him out with a letter. J. W. Johnston took 
the part of Craig in "Where the Trail Divides." 
Robert Leonard and Ella Hall are not married. 



G. D. O. — Charley Chaplin is witli the Essanay 
Company at Niles. California. Send him 2~< cents 
for the photograph, for even his good nature has 
limits. 



E. C. S. — James Cruze was on the legitimate 
stage before going into the movies. For answer 
to your other question I refer you to "Photoplay- 
ers Constant Reader." 



Miss A. M. S., Cixcixxati — Thurlow Bergen 
took the part of the prince in "A Prince of India." 
He is married to Elsie Esmond, who took the part 
of the adventuress in the same fllm. 



E. J. — Alan Hale is still with the Biograpb 
Company. Billy (Juirk is married. 



R. II. N. — You refer to Julie Craze, the little 
daughter of Mr. and Mrs. James Cruze. Write 
to the Thanhouser Company at New Rochelle. 
N. Y., for the synopses of "Zudora." "Graustark" 
will be released in a short time. 



Movie Fax of "18" — Stella Razetto and Guy 
Oliver had the leads in "The Lady of the Cycla- 
men." Edith Taliaferro and Tom Forman in 
"Y'oung Romance." Guy Coombs played opposite 
Alice Joyce in "The White Goddess," the story of 
which ran in April Photoplay. 



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166 



Photoplay Magazine — Advertising Section 




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Please Mention Photoplay Magazine 



Mrs. R. L. I. — James Kirkwood played with 
Mary Pickford in "The Eagle's Mate." It was 
produced a year ago. 



V. IT. — Your story need not be in scenario form 
before it is sent to any company. See what Cap- 
tain Peacocke says about this in the May issue of 
PHOTOPLAY. Don't be afraid to submit your manu- 
scripts. Try first one company, then another. 



R. R. Monroe, N. C. — Miss White's husband was 
a non-professional Ruth Stonehouse is married 
to Joe Roach, a scenario writer for the Essanay 
Company. 



C. A. R., Birmingham — The only way an ama- 
teur can get a start in the movies is to secure a 
place with some company and go through the long 
and weary struggle of playing minor parts at "ex- 
perience per week." it is a prett" poor business 
proposition, if you haven't an income. 

Andy — You'll have to wait a little on your wild 
desire to correspond with your friends. Half the 
people si-u tneir names just as you do, and don't 
give any address, but we're going to try to work 
out a scheme so that you can get together. The 
people you mention are all unmarried. 



Hazel W., Hartford, Conn - . — -"X.," the unknown 
quantity in this case, is found to be Xavier, and 
he is under thirty, and still a major leaguer. He 
don't have time to slump. Ruth Stonehouse is 
married ; behind the camera she is Mrs. Roach. 
Florence Lawrence is not in the movies at present, 
although she promises her friends that her hiber- 
nation will end with the advent of spring. Dick 
'flavors is with Essanay in Chicago. Robert 
Leonard and Ella Hall are at Universal City, Los 
Angeles, and George Larkin, Fox Film Company. 



P. A. E. T., Washington, D. C. — In a word, 
"No." How many do you want, anyway? How- 
ever, I suppose some people arc just naturally 
horn that way. No, wait ; leave Harry Morey 
alone — he's married. 



C. R., Chicago — No, it is not true that Crane 
Wilbur took the part of the Stork in the "Birth 
of a Nation." Can't say what Kathlyn will do, I 
am sure, now that the Elephant is going back to 
the legitimate to appear at the White House in 
Washington, starting 1010. 



Yost F. B., Manor, Pa. — Pearl White came from 
the heart of the Ozarks, and her first appearance 
was in "Uncle Tom's Cabin," of course, as Little 
Eva. Thus she started on her stage career, and 
continued before the footlights for a number of 
years until she joined the Pathe Company, soon to 
play the role of Pauline in her many perils. She 
has traveled extensively, but when she's home she 
answers her telephone at the Pathe Exchange, 25 
West Forty-fifth street, New York City. Those 
"will o' the wisp" pictures are purely optical illu- 
sions and are produced by taking two pictures on 
one film. The Universal you refer to was Aimed 
near that Lozonglaze city. 



Freda L., St. Loiis — So you hope Mary Pick- 
ford hasn't died of pneumonia ! Well, what do 
vou want her to die of? Mail your complaint to 
this office and we'll see what can be done. For 
our part, not living on Botanical avenue, we hope 
that she doesn't die at all — would not be treating 
the fans right. 



Mr. P. S. R., Normandie, Philadelphia — You 
have the same chance in photoplay acting that 
you have in any of the other many very over- 
crowded professions. If you can spend two or 
three years at "experience per week you may be 
justified in thinking about breaking in ; otherwise 
just be a fan. You've as good a chance to become 
a major league ball player. Oh, well, try chess 
then. 



Rochester Make Means Quality — You evi- 
dently believe in advertising. Just for that we'll 
drop this down a Cutler mail chute. None of your 
friends are married. You evidently belong to the 
younger set. Good night, daughter. 



Photoplay Magazine — Advertising Section 



167 



Gkktchex, Toledo — You have funuy opinions : 
asking whether Charlie Chaplin is dead and if he 
is married, all in the same question. Ford and 
Cunard are not married. We don't know how big 
Charlie's pay envelope is ; he told us once, but it 
was English money, and we couldn't figure it out. 
• Jretchen, if you can't wait for Photoplay Maga- 
zine now, I don't know what you will do in two 
■>r three months. Well, you watch and see. Edith 
Story is a brunette. Gretchen, certainly. Eddie 
Lyons is not married. Don't worry about that pen 
■ if yours; it's all right. 



M. E. T., UxnniDGK. Mass. — .Timmie and Mar- 
guerite are married. Mr. Cruze merely takes the 
part of a reporter in many of the plays in which 
he appears. You don't want a list of plays, you 
want an itinerary of his life. 



Ida L. F., Lakewood.— Many thanks for your 
nice letter. I turned your answers in the "Lips 
Contest" over to the Contest Editor. Call again. 



It. A.. Clinton. Ia. — No. Mary Pickford is not 
divorced, nor is she securing a divorce. Some 
more Sewing Circle gossip. 



Claire G., Quincy. — "Tillie's Punctured Ro- 
mance" is a Keystone feature. Roscoe Arbuckle 
weighs two hundred and forty, but he's gaining — 
he'll be quite a boy when he gets his growth. 



IC. II., Brentwood. — You may address Mable 
Forrest in care of the Essanay Film Co., Chicago. 



J. H. S., Toledo. — No. Charlie Chaplin hasn't 
been killed doing any of his stunts. He's a pretty 
wise old bird — always looks out for C. C. 



h. W., Chicago. — There is no way that you 
can keep in touch with the Mary Pickford bills 
at the various theaters, except to watch the ad- 
vertisements in the papers and to note the an- 
nouncements of coming features at the theaters 
you attend. Hope you see them all. 



J. L. B„ Tacoma. — N'o. kind friend. Francis X. 
Bushman and Beverly Bayne are not married. 
Blanche Sweet is married. You will find some in 
teresting news in answer to your question about 
Francis Bushman and Edna Mayo in the June 
issue. Doesn't it settle that matter for youV 
Glad that you know Mary- — where some people get 
those ideas about Mary and Owen is beyond me : 
you confirm the information that we have here, 
that their married life is very happy. 



Carthage. Watertown. — Mack Scnnett may be 
addressed at lTlU Allesandro Street, Los Angeles. 
Sure, you may be just the man he is looking for — 
we wont guarantee what for, however ! 



Anthony. New Orleans. — You aren't in love — 
you're merely in need of a spanking. You will 
lind an Edward Earle interview in this issue, but 
it's by another author — the one you mention is 
in a different part of the country. There will be 
a lot of contests in the coming issues. Watch for 
them. 



Miss B. C, Portland. — Shoot ! Send as many 
Jokes as you want to, only try to send smiles, 
at least. 



Leo, N. Y. — Oh. just address your letters to 
"Questions and Answers Department." I got one 
the other day addressed to the "Answer Man 
Chicago," but it probably found a postman who 
is a movie fan. Mr. Koach is not an actor — he's 
one of the men behind the guns, in the Essanav 
Camp. The cast of Selig's "Millionaire Cabby 
is as follows : Henry Pane, Wm. Stowell : Clarence 
Forbet, Edwin Wallock; Doris Wilson. Adele Lane; 
Jarvis Wilson, Joe Hazelton ; The Old Cabby, C. C. 
Holland. Neither Anita nor Norma is married. 



C. L., Brooklyn. — You probably have mcrclv 
struck the wrong theaters — ones which do no't 
hapnen to handle Great Northern Films. The 
company is still in business. 



Snook-Cheten-nt:. — Beverly Bayne is unmarried, 
and her home is in Chicago. 



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168 



Photoplay Magazine — Advertising Section 



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Name . . . 
Address . 



Bebnicb C, St. Louis. — It is probable that 
Alice Joyce will soon reappear in pictures, but at 
the present moment she is devoting her time ex- 
clusively to her home. Certainly Mary l'ickford 
lives with her husband — those gossipy rumors 
are the limit. Can't say whether a kind Future 
will bring forth plays with Owen and Mary playing 
opposite each other or not — I most surely hope so. 



B. D. E., Binghamton. — Hope your play is suc- 
cessful, and the only way to do witli it is to sub- 
mit it to the various scenario editors. Elsewhere, 
however, we have mentioned two or three com- 
panies which arc not in the market for any sort 
of scripts whatsoever. 

Carolyn r.. Little Bock, and Wood Violkt, 

llOLYOKE. 1'HOTOPLAY Magazinb will he glad to 

send you nearly any of tue hack numbers upon 
receipt of fifteen cents. We merely asK that you 
do not judge tue present magazine, and tue ones 
to come, by these antediluvian editions. The Uni- 
versal group iucluues Big U, Gold Seal, Imp, 
lot Bison, L-Ko, Joker, Nestor, Powers, Bex, Ster- 
ling, Victor and Laemmle. Universal City is a 
really wonderful city — tue metropolis of tue pho- 
toplay world, and you must arrange your trip 
so tuat you can visit it, when you are out there. 
Now when did you hear us advising anyone to 
study moving picture acting by mall? I don't 
think you did either ! We discourage people in 
their aspirations to become pnotoplayers because 
not one in a hundred, to say the least, has any 
idea of the seriousness of this profession. The 
movies are the third largest industry of America, 
the day of the star-by-cuanee lias passed, and 
thousands of people are devoting all their time, 
their energy and their money to acquire profi- 
ciency in tnis held. Against such competition, or 
trained and efficient minds, what chance has Ilallie- 
of-ham-rye experience? See our position? — to en- 
courage people who have not the ability and means 
to take this up, would be nothing short of criminal. 



J. S. M., New Bedford. — Photoplay Magazine's 
editors are always glad to read contributions sub- 
mitted for use in our pages, but manuscripts must 
be prepared in tue usual typewritten form. 

Earl V. E. C, Detroit. — Wc stand pat on 
everytuing that we said regarding the correspond- 
ence schools. In practically every instance tucy 
make promises tuat tuey know tuey cannot fulfill, 
and bleed a gullible public turough radiant pictures 
ofj a success that is as far away as tue end of 
the rainbow. A sucker is born every minute, and 
Photoplay Magazine can't stop that, but it dis- 
likes to see them imposed upon if it can be helped. 

Philip B., Brooklyn. — As a form of amusement, 
you would probably find that breaking into the 
New York "400" is much easier and more enter- 
taining, than attempting to visit a film studio. It 
is almost Impossible to secure passes and, having 
once secured them, you will find that you are very 
much in the way. Charlie Chaplin is said to 
receive $2,000 per week from the Essanay Com- 
pany, and it's part of the contract that he refrain 
from dying, so don't worry. 

Miriam B., Schenectady.- — Joseph Eoach, tho 
husband of Ruth Stonehouse. is with Essanay in 
Chicago, in the capacity of scenario writer. 

R. W. D., Portland. — Many thanks for sending 
us the clippings. 

Miss J. J. J., Bloomeield. — We'll have to see 
what we can do for you in regard to a story about 
Hobart Henley : don't know why he's been over- 
looked. No. Marguerite Clarke is not Harold Lock- 
wood's wife. 



Mrs. S. M. II., St. Paul. — No. one can not use 
copyrighted stories as the basis of scenarios. You 
might be able to secure permission from the author 
to use his story in a scenario, but otherwise you 
cannot do so. 



II. A. F.. Indianapolis. — Your suggestion about 
mentioning players specifically is good, and we are 
doing so. except in certain instances where we 
do not care to use the player's name. Perhaps 
your letter went astray because Charlie Chaplin 
is with the Western branch of Essanay, at Niles, 
California. Try your luck there. 



Photoplay Magazine — Advertising Section 



169 



The Fable of the Faithful Fan r 



By W. J. McLaughlin 




A MARY PICKFORD Feature was being 
shown at the Local Theatre. Jones was a 
Rabid Movie Fan and a Staunch Admirer 
of Little Mary. 

Nature had been very Unkind to Jones, and 
like all Chaps whose Facial Appearances are 
Conspicuous, he was of a Sensitive, Retiring 
Nature. 

During the First Part of the Performance, he 
had a clear view of the Screen ; but before the 
Feature was Put On, a Beautiful Young Thing 
in a large Picture Hat was ushered to a Seat 
directly in Front of him. He strained his Neck 
trying to follow his Little Favorite on the Screen 
until he got Sore. Then he summoned up Cour- 
age enough to say : 

"Will you kindly remove your Hat, Miss?" 

The Beautiful Young Thing remained Un- 
moved. Fifty feet of Little Mary were lost to 
Jones. He became Absolutely Desperate and 
shouted : 

"Say, take off that Hat ! I want to Look as 
well as you do." 

Whereupon the Beautiful Young Thing looked 
him straight in the Eye and replied : 

"If you want to Look as well as I do. Old Top, 
you'd better go Home and change vour Face." 
MORAL 

If you can't see the picture go to sleep. 



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Please Mention Photoplay Magazine 




Day 



170 



Photoplay Magazine — Advertising Section 



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Reduce or Increase Your Weight I 
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Hundreds of readers of Photoplay Magazine have 
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My $3.00 Exerciser Reduced to 

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k Trade MarVRegistered 

ffowertJrops 



•>•- 



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Mabel Taliaferro 

one of the five stars of " The New 
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PAUL R1EGER, 
175 First Street, 
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coupon. 1 want odor checked below. 



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Paris 



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